#japanese gay reality show

[conscbgb]

"Were you waiting? - You kept me waiting too long...we FINALLY did it"

I think I'll stay here till next tuesday...Thank you DaiShun

The build up to this kiss was something 🙌🤯

I felt the tension in my bones and I wasn't in that room...

[candygalaxyyy]

anyone on here watching the boyfriend? cause the tiktok and twitter fans that are calling dai a red flag /player are insufferable. all this over some risky photos. him hooking up with alan in the past. using dating apps. and talking to the other guys in the house when this is in fact A DATING SHOW… like his is a 22 yr old who is hot and single, what did people expect? also shun is not a baby that needs coddling. yes he has been hurt, but dai is not some big bad villain who’s forcing shun to like him. also we’ve only seen 3 eps, ppl need to chill the fuck out, acting like they know everything.

also the sl*t shaming is crazy… ppls reactions to dai is also giving biphobia but i digress…

[lgbtally4ever]

THE BOYFRIEND

7 Month Reunion Show on Netflix

[afabstract]

The Boyfriend Review - Coffee, Crushes, Conflicts Brew In New Dating Show

In Netflix's "The Boyfriend," nine men navigate romantic entanglements, coffee truck duties, and personal dramas. Sparks fly and hearts break in this unique dating reality show.

Sneha Jaiswal (Twitter | Instagram) Can spending one month with a bunch of prospective dates in a beautiful beach house lead to love? Netflix’s gay dating reality show “The Boyfriend” is the first of its kind from Japan, featuring nine men from different walks of life, who get to spend time with each other in a house called “The Green Room,” a picturesque stay complete with a swimming…

[taiga-pine]

i wanted to add that i dont hate toshiro or think he hates laios, but i do still believe he did a bad thing! which is also ok! it doesnt matter if you were raised a certain way, when you see someone isnt getting your "social cues" then you either say something or get over it, not continue to hate them more.

also while i can criticize toshiro, i can also be sympathetic cuz i understand communicating your problems can be really hard especially when you were taught to hide them.

more in tags, sorry for ranting but this is just so important to me lol

teeny tiny spoiler for the latest dungeon meshi episode!!

the fact that the "obviously autistic character annoying a character that wont say anything about it" trope got flipped around and the annoyed character was portrayed as the one in the wrong is so good!!!! i love seeing little justices for autismo characters in media!!!!!!! I LOVE DUNGEON MESHI!!!!!!

[twig-tea]

I haven't been posting about it week to week but I have been keeping up with My Love Mix-up (the Thai adaptation) and I'm still sitting with how badly this latest episode (ep7) is sitting with me. I just have to purge this so I can move on. Criticism of the adaptation below [including spoilers through to the end of episode 7 and very vague spoilers for the source material].

I wish these show writers would not try to shoehorn an adapted work into the bubble, because this line they are trying to walk is disturbing. By having an older gay character tell Atom that he shouldn't characterize his relationship as different, it's suggesting that societal norms and social expectations are not real, but are something Atom invented. His fear is treated as a joke and an overreaction, something to overcome, and everything I've heard from Thai people in the real world tell me that is very much not the case. This is such a different message from the original manga and Japanese live action, which were both about having the strength to defend your relationship in front of obstacles and trust the people in your lives who have earned it. There's a huge difference between learning not to live in fear even though there are realistic things to be concerned about, and learning your fear was misguided/not based in reality after all so you can just let it go. Queer kids should not be taught to not trust their instincts about who to trust with their truths.

This is the same mistake GMMTV made with the changes they made to 23.5, and it tells me their writers fundamentally don't understand internalized homophobia. You don't develop internalized homophobia in a homophobia-free bubble--kids are not born with it, it has to be learned. We are taught to hate ourselves by parents, by media, by teachers, by strangers...to set a show in a world where that is not a reality, and then to have characters have those fears anyway, is insulting and dismissive of where those fears come from and how they are based on realistic fears about potential outcomes. Gay kids do lose their families and have their lives blown up over the people they love--that is not a joke or an overdramatic statement.

I am really upset by this. It feels like these shows are saying queer people are foolish and delusional for being afraid. I've had people in real life tell me that my concerns were overdramatic before, and I've also seen people badly hurt because they didn't take the threat of homophobia seriously enough. I just...it's not that I worry this will be a model for anyone's behaviour. But this adaptation took a story about characters I could relate to, and changed them so that the show instead instead is invalidating my experience. It feels dehumanizing. In trying to be an escapist piece of media, this show instead became painful for me to watch. I sincerely hope I'm an outlier and other queer folks watching this didn't feel it in the same way, because I don't want other people to be feeling how I'm feeling right now.

I'll be walking away from this one.

@bengiyo I think you mentioned feeling similarly disturbed by this approach in your stray thoughts, so I'm tagging you in case you wanted to add on.

[wordsandrobots]

IBO reference notes on . . . queerness

How has it taken me this long to write about this aspect of the show? (He asked rhetorically, staring at the enormous amount of fanfic that basically stands as a thesis statement on how very queer this part of the Gundam franchise is [as opposed to all the other terribly straight parts, he added, sarcastically].)

Anyway, let's do it. Full spoilers up to the end of the show will follow, together with discussion of child abuse and exploitation, since that is what IBO is all about.

Special thanks to @lilenui and @prezaki for their invaluable assistance in locating sources.

Statement of caveats: this work is an amateur analysis of the English-language localisations (subtitled and dubbed) of a piece of Japanese media. I do not speak or read Japanese. I am myself bi, which qualifies me to be attracted to more of the cast than the average viewer, and have a working knowledge of LGBTQ+ history in the UK and USA, which tells me nothing about the cultural and historical context in which this anime was made. As such, I will not be addressing the behind-the-scenes production or the corporate mandates surrounding it but will focus narrowly on what I perceive to be present in the text (hereafter meaning both the script and animation, and any additional fictional details provided elsewhere).

Queerness in Gundam

Some background before we dive in. To my knowledge, the first character in the Gundam franchise to be intentionally depicted as LGBTQ+ is Guin Sard Lineford from Turn A Gundam (1999). An ambitious young aristocrat who spends the series on the line between hero and villain, he is infatuated with protagonist Loran Cehack and the show makes little attempt to play this as anything other than one man falling in love with another.

This is entirely one-sided and not appreciated on Loran's part, although that seems to have less to do with it being homosexual attraction than with Guin's high-handed and entitled attitude to life, filtered through heavily gendered social norms. For plot reasons, Loran spends several episodes cross-dressing as 'Laura Rolla', corsets and all, and Guin continues referring to him as 'Laura' long after the deception is no longer required, saying it 'suits him better'. Guin is eventually called out on this by a third character, who accuses him of forcing an idea of feminity on the other man rather than stoop to place himself in the position of a 'wife'. Objectifying Loran is presented as of a piece with Guin's overall flaws as a person, to whit, putting his own views about how things should be above the material reality and desires of those around him.

Guin is also the only explicitly gay character in the show (I'm honestly not sure how to classify whatever Dianna Soreil and Kihel Heim have going on, but it's certainly not labelled in the text). Therefore no counterpoint is provided to demonstrate healthy queer relationships. I don't state this to dismiss his inclusion: he forms part of a smart, nuanced plot thread, and Gundam creator Yoshiyuki Tomino had to fight to get Guin's homosexuality clearly included. But even so, Guin is a palpable step forward rather than a watershed moment, and the end result veers close to some nasty stereotypes about queer people imposing their desires on others.

There are other examples of characters transgressing gender norms in Turn A, most especially Loran's aforementioned cross-dressing. He is comfortable playing the part of 'Laura', in ways that mitigate viewing this situation as the extended joke it might be in another production. Funny moments do come up – particularly in the lead-in to his 'debut' as he acclimatises to the female attire of the show's pseudo-Edwardian setting and takes posture lesson – but he and the concept of a man in ladies' clothes are never made a subject of mockery. The same cannot be said for the character of Sochie Heim, whose attempts as a young woman to fulfil a gung-ho masculine role often turn comedic. This is part and parcel of her assaying militaristic modes of action, which are soundly mocked across the board. It nevertheless stands out next to Loran/Laura.

Further, Loran's status as a literal moon-child carries implications for his attitudes. His dismissal of existing social standards on Earth is very much presented as correct, and in keeping with what I know of Tomino's other writing and stated beliefs, but it dovetails unfortunately with a treatment of queerness as otherworldly, not something that may be found among an average population. We get another example of cross-dressing in the next-but-one series, Gundam 00 (2007, not a work Tomino helmed), where the usually male-presenting artificial lifeform Tieria Erde switches to a female presentation (in a ball-gown, no less) during a covert mission. This sufficiently parallels Loran's case, I assume it was a deliberate call-back, being as it is a disguise enacted by someone even less typical than a boy from the moon.

What I am driving at is that while Guin, Loran and Tieria may be characters who are queer or perform queerness in some manner, they do not necessarily represent an outright embracing of queerness as a mundane facet of everyday life.

Fast-forward to 2024 and the latest mainline Gundam show is a lesbian romance.

If you have been following my blog for a while, you will know I do not hold The Witch From Mercury in especially high regard. I think it is annoyingly messy, frequently half-baked, and, broadly-speaking, exactly as frustrating as I'd expect from the guy who wrote Code:Geass. It's still an explicit love story that opens with a clangingly blunt statement about the acceptance same-sex relationships and ends with the two female leads happily married to one other. For all its flaws, I genuinely think the central relationship between Suletta Mercury and Miorine Rembran is a nice piece of story-telling, not to mention admirably open about what it is doing. Like it or lump it, Gundam is gay now, properly, with a protagonist and co-protagonist who can be definitively labelled queer and whose romance appears entirely unremarkable for the setting (in terms of being same-sex; clearly there is a lot to remark upon otherwise).

I would be remiss if I did not mention that the conclusion of the series was accompanied by a certain amount of corporate arse-showing, with hollow attempts to walk back the ending seemingly for the sake of appeasing homophobic elements within and without the companies that produce Gundam. The frankly laughable nature of these actions stands testament to how unequivocal G-Witch is. It is flatly impossible in my opinion to interpret as anything other than flagrantly homosexual, and that's great.

Between this interesting but limited start and the full-throated present lies Iron-Blooded Orphans (2015), my absolute favourite and the show that got me writing slash fic after years of… not doing that. So: what is the deal with queerness in IBO?

Natural for a human

By my count, including all present spin-offs, there are three characters stated in-text as being attracted to people of the same gender (Yamagi Gilmerton, Iznario Fareed, Deira Nadira), two who are at the least open to the idea (Norba Shino, Mina Zalmfort), two whose mutual attraction is stated within the context of polyamory with a third person of the opposite gender (Atra Mixta, Kudelia Aina Bernstein), one whose sexuality is briefly hinted at (Chad Chaden), and one male character who is possibly not attracted to women (Orga Itsuka).

Let's get Iznario out of the way first, because the less time we spend on the actual paedophile, the better.

Lord Iznario Fareed is a rich, powerful aristocrat who sexually abuses young blonde boys and inadvertently sets large parts of the plot in motion as part of quasi-villain McGillis' backstory. In a lesser show, Iznario would be the embodiment of the 'predatory queer' stereotype Guin skirts the edge of. Here, however, he is very much not the only 'gay' character present and his proclivities demonstrate one of the many ways the world exploits vulnerable children, a core theme of the series. Early on, we see fleeting glimpses of young girls being pimped out on the streets of Mars. Iznario shows this social failing extends to the much richer Earth and although he is portrayed as the worst among the Gjallarhorn elite, they all abuse their power for personal gain. Thus, as much as the reveal of what he has done carries a certain shock value, it is not present purely for cheap impact. (This isn't the essay to discuss it, but the flashbacks to McGillis being abused as a child are a masterclass in how to frame such things around the victim, clearly communicating what's happening while avoiding gross voyeurism.)

I don't know how deliberate it is the canonical gay character who is shown in an entirely positive light fits the profile of Iznario's victims to a T, but it does underscore we're looking at a case of power allowing people to get away with hideous things, not a stand-in for queerness in general. To an extent I resent having to spell this out, since it seems so obvious Iznario is not fulfilling the role of a homophobic cliché. Sadly, the cliché exists and the point is worth discussion.

Moving swiftly on: Yamagi and Shino.

Yamagi Gilmerton is a small, quiet teenage boy with a somewhat withdrawn and acerbic personality, who spends much of Iron-Blooded Orphans nursing a hopeless crush on mobile suit pilot Norba Shino. Like the majority of the cast, Yamagi is a child soldier, but a mechanic rather than a combatant. Additional backstory commentary reveals that he struggled on joining CGS mercenary group due to his physique. Indeed, while this detail is not directly referenced in the anime itself, he is indeed drawn noticeably thinner than the other boys.

Again, we veer towards stereotypes, where a queer character is portrayed as weaker and more effeminate. Yet in spite of leaning this way in looks, Yamagi is an eminently capable person, never treated as lesser for fulfilling a support role rather than being a fighter. If anything, IBO goes out of its way to highlight how vital good mechanics are to mechanised warfare, and we see multiple examples of Yamagi being both assertive and kind of badass. At one point, he scales, unaided, an 18 metre tall mobile suit that's collapsed to its knees. When he and Shino are revisited in spin-off game Urdr Hunt (soon to be some form of animated production), he pilots a spaceship within an active battle-zone, flying escort for a damaged freighter as it retreats. In Season 2, he's comfortable ordering Tekkadan's new recruits around and is the first person to properly chew Orga out for his failings as a leader. Far from being an outlier among the protagonists, Yamagi is equally brave and dedicated to the cause, irrespective of his sexuality.

To be fair, he does tend to clam up and grow more awkward around the object of his affections. To be equally fair, he has the misfortune of having fallen for the most oblivious himbo on God's red Mars.

Shino is a big, boisterous warrior, the polar opposite of Yamagi in personality and physicality. He embodies Tekkadan's machismo, eagerly anticipating the chance to prove their strength and generally being a standard bearer for becoming the biggest, baddest group around. Things are not as straightforward as they seem on the surface, however. He shows a good awareness of when the group is in over their heads – going so far as to suggest retreat in the face of bad odds several times – and he is not nearly as sure of himself as he might first appear. He displays a wide streak of insecurity about his abilities as a soldier, reacting badly to people questioning his dedication or competency. And he crumbles completely when some of his comrades are killed as the result of a split-second mistake on his part, stating a wish to have died in their place. Thereafter, he acts in ways that read as choosing to take all the risks on himself rather than go through more loss. It makes him an interesting mix, someone who acts as a cheerleader, boosting everyone else's morale, while swallowing his own doubts and personal fatalism.

He is also presented as one of the most sexually active members of Tekkadan, using his wages to visit brothels to sleep with women. Indeed, he is frequently found extolling the virtues of the opposite sex, referencing collections of pornography (at least in the English dub), and generally being a very typical teenage boy about such matters.

Given this, you might assume Yamagi is longing hopelessly for a straight man. That is indeed the idea the show teases us with for much of its run (can something be straight-baiting? I feel if anything ever earned that title, it's this). OK, Shino's fond of Yamagi as a friend and frequently relies on his assistance in improving his fighting ability, and per ancillary material, is the one who got Yamagi transferred to the mechanics corps in the first place, rescuing him from struggling in the infantry. And sure, Shino spends an awful lot of time in very close proximity to Yamagi, including literally pulling him into the cockpit to assist with a mission. And yes, Shino is absolutely a flamboyant creature, sporting gold ear studs and an attraction to the colour pink, ensuring his mobile suits are painted all over magenta in order to stand out on the battlefield. And certainly, Shino is extremely empathetic, adjusting his attitude depending on his impressions of other people, such that he dials his boisterousness down in Yamagi's presence, displaying a far more gentle affection than he does with his other friends.

But clearly he hasn't noticed Yamagi is head over heels for him.

Right?

Well, towards the end of Season 2, during another moment where Yamagi is literally sitting on Shino's knee, Shino proposes the two of them drink together all night long once the fighting is over. Not only is this an unambiguously romantic overture (he's asking while pushing aside the fringe that normally covers half of Yamagi's face, in order to look into his eyes properly), it comes after a joke several episodes earlier in which Shino has to explain to a less worldly comrade that a girl inviting you for a drink is not a request to go out with the whole gang but a far more intimate gesture (I say explain, it's more expressing incredulity Akihiro didn't realise Lafter was asking him on a date). Later, it is revealed Shino did indeed work out that Yamagi 'likes' him (to his friend Eugene's exasperation that it took him so long to notice), and he reacted with amazed delight to discover there was someone in Tekkadan who'd fall in love with 'a guy like me'.

He'd assumed because Tekkadan is a family (a description provided by their ally Naze, which everyone just kind of runs with), romantic love wasn't possible between them. Having worked through this mental block and finally realised the blindingly obvious, he renews his desire to protect Tekkadan as long as he lives, refuting his previous view of himself as an expendable human shield and heading out with every intention of surviving all the way to the end.

And because IBO is an exquisitely-written tragedy, he is promptly killed while attempting a futile one-man attack against their enemies, his advances on Yamagi forming part of a long build-up whereby the boy who loves him provides the tools he needs to charge into a suicide run.

Right then. *drags out the reading comprehension soap-box* I have seen some people refer to this as an example of the 'bury your gays' trope, and there is nothing more likely to get me manifesting behind you in the form of an irate shoebill than to do likewise. 'Bury your gays' refers to a tendency for queer characters in fiction to disproportionately suffer tragic fates. This is a writing choice usually rooted in the idea queer relationships are inherently tragic, either because they are viewed as a perversion of 'correct' forms of love, or because of some misguided idea the prevalence of homophobia means queer joy is impossible. I am going to be charitable and concede this is indeed a case where one half of a budding homosexual relationship dies horribly. But, as always, the context matters.

All but one of the romantic relationships established prior to the epilogue of Iron-Blooded Orphans end in death. Of the two that survive in some capacity, one is a heterosexual background romance between two older characters and the other is a pair of women I shall be covering later. IBO is a story about child soldiers that does not shy away from the fact these are teenagers being fed into a meat-grinder. That the director's original intention of killing every named character was toned down (to the series immeasurable benefit, in my opinion) dos not change a narrative arc towards doom.

Within this, Yamagi and Shino aren't singled out for being queer. The coyness around Shino's eventually-evident bisexuality serves to generate an instant of hope and relief right before the rug is pulled from under everyone's feet. Where Shino's death does differ from those of other characters is in presentation: he dies alone and does not get any form of farewell or the passing-on moment afforded to others. But that is only to be expected, since we're talking about the point where it becomes clear there is no saving the situation. It's a cruel, abrupt moment of bad luck, puncturing the heroic idea of scraping victory at the last second. Shino flew out intending to live and he died anyway. A queer relationship forming part of what he was fighting for is an almost incidental detail.

(As an aside, I am aware of two other examples in Gundam fiction where a pilot and a mechanic have a doomed love affair. One is in Char's Counterattack, where a male engineer's romance with a female pilot ends with them both being abruptly killed, and the other is from Gundam AGE, where a female mechanic sacrifices herself for the greater good, leaving a male pilot to mourn her loss for the rest of the series. Shino and Yamagi reiterate this same concept.)

Stepping back from the tragedy, Yamagi's love for Shino is as delightfully underplayed as the other relationships in the show, with little emotional melodrama being wrung from the romance itself. Yamagi can't bring himself to declare his feelings, frequently turning cold instead and perpetuating Shino's misunderstanding of where they stand. Yet Shino ultimately proves enthusiastic for the idea, rendering moot any concerns Yamagi had over getting turned down (going beyond the text, a Q&A with the series' director confirmed Shino was written as bi). Equally, in the aftermath of Shino's death, Eugene comforts Yamagi by relating the truth of Shino's earlier realisation and even going so far as to rebuff Yamagi for implying there's something wrong with him for grieving. This and other interactions in the same episode imply those nearest to the pair were well aware of Yamagi's desires and had absolutely no problem with them. The prevailing attitude within Tekkadan is one of complete acceptance for its members and this is no different.

Indeed, for me, the most important part of how queerness is represented in IBO is that it is treated as just another aspect of the diversity of the cast. I've seen it stated that viewing homosexuality as a natural part of human existence was Tomino's motivation in making Guin gay. IBO presents us with the same idea, far more seamlessly and far more positively.

Now, let's leave the anime proper and look at the same-sex pairing from spin-off manga Iron-Blooded Orphans: Moon Steel.

Deira Nadira and Mina Zalmfort are part of the Gjallarhorn nobility and their marriage was arranged to strengthen relations between their two families. We see an example of a similar political match in the main show, where the heir to the Fareed family, McGillis, is betrothed to the second child of the Bauduins, the much, much younger Almiria. That this can take place regardless of the gender of the participants has big implications for the functioning of a bloodline-focused aristocracy. Presumably it indicates they are happy to use medical technology to ensure the Nadira family continues into the next generation, and if same-sex marriages are thus permitted, that means fewer factors to worry about when it comes to perpetuation. Whether male-male weddings are allowed too remains an open question; given the existence of real-world double-standards, it is possible Deira and Mina represent the only acceptable form of homosexuality. Nevertheless, that it is accepted speaks volumes. Gjallarhorn is not an especially progressive organisation, built as it is on rigid class structures and notions of human purity. Yet here we are.

Perhaps we should have expected that the norms around gender in this system don't correspond to strictly patriarchal patterns from the real world. Carta Issue, a key player in Season 1 of the anime, is the only child of the Issue Family's current leader and positioned as his sole heir, irrespective of the fact she's a woman. The logical inference is that any children of hers would count as Issues, rather than belonging to a potential husband's family. Deira is similarly the heir to her father's position, although intriguingly, it's not outright confirmed if she is his only child or simply the oldest. The possibility exists that gender is a non-factor in determining inheritance.

With respect to sexuality, Deira seems pretty obviously intended to be a lesbian. Her relationship with Mina is presented as one they are both happy with, despite it being an arranged by their parents, and Deira is depicted in the manual for Gundam Gremory's model kit as favouring the clothes of 'a handsome man'. She doesn't present that way within the manga' story, first showing up wearing the standard unisex Gjallarhorn pilot-suit, then wearing a formal gown for a meeting while in an official capacity. But she is depicted wearing masculine clothes in silhouette when initially mentioned and in a post-story panel at the back of the final volume.

(Another aside: the fan translations I use for this part of the manga refer to Deira using male pronouns when she's introduced. However, that could simply be down to the poor quality of said translation; she's consistently referred to using female pronouns in official materials and the game adaptation of this scene has her named as simply 'Lord Nadira', the standard appellation for Gjallarhorn family heads.)

Whether Deira's code-switching is the result of institutional expectations around her role or personal preference, it adds extra texture to her depiction. While civilian garb was designed for the adult version of Carta and closely matches conservative gender expectations for a woman, she's never shown wearing it, so we don't have a point of comparison to judge what's required of a character in Deira's position.

Regarding Mina, you'll notice I grouped her with Shino rather than the characters whose sexuality I consider to be stated outright. With Shino, the nature of his sexuality is not put absolutely beyond question in the text. This is splitting hairs due to the overt nature of what's on screen but the fact remains, the anime doesn't clarify if his being open to Yamagi's love means he already thinks of himself as bisexual, or if this is something he hadn't considered before. With Mina, it's more a case that I'm unwilling to label her one way or the other based on the available information. Deira carries sufficient signifiers, I find little room for doubt over the intention. We also have an outright statement that she holds great affection for Mina regardless of being obliged to consider her an eventual romantic partner. Indeed, she becomes so upset by believing her fiance dead, she runs off to Antarctica in a Gundam. But the exact depth of Mina's feelings in return is not discussed.

In addition, Mina is considerably younger than Deira. McGillis and Almiria's match takes place when he is (probably) somewhere in his late twenties and she is nine, with plans for the union made four years prior. This is not great, to put it mildly, albeit fairly typical of how such things have historically worked for nobility. Based on appearances and how they are treated by the rest of the cast, I would assume Mina to be in her mid-teens, and Deira to be in her early twenties (annoyingly, exact ages are provided for several characters in Moon Steel, just not these two). A less dramatic gap (and I don't believe Mina is meant to be quite as young as her appearance perhaps suggests), yet still significant when one of the people involved is below what we'd consider adulthood.

There is no indication of anything untoward going on, within the confines of the situation, similar to how we're given no indication McGillis is abusive towards Almiria. Any comparisons with Lord Iznario's activities lie purely along the axis of how children are exploited by adults even without suffering directly. All indications are that Deira and Mina have made the most of something they have little choice in. Regardless, I still feel more comfortable describing Mina as open to being in a relationship with another woman, rather than pinning her to a specific preference.

Continuing the theme of things where doubt or ambiguity exist, let's discuss some characters were there shouldn't be any: Atra and Kudelia.

I don't know about you, but I find it extraordinarily hard to read this as anything other than a three-way love-confession. Still, in the interests of fair play, let's review the wriggle room for declaring this something else.

Kudelia Aina Bernstein and Atra Mixta are love interests of nominal protagonist Mikazuki Augus, in an iteration of another tried-and-true trope, that of a male lead inexplicably being attractive to the female characters in his orbit. Or rather, it would be if the show didn't take such pains to demonstrate why these girls fall for him, setting up a long-established crush on Atra's part (rooted in him being the first person in the world to be nice to her) and a mutual respect on Kudelia's that gets spurred to more when Mikazuki randomly decides to kiss her because she 'looked cute' (Mikazuki has the manners of a feral stray raised on the streets, because that's precisely what he is).

Justification aside, this has the makings of a traditional triangle, that is, one without a connecting base, which we might expect to be resolved by either Kudelia or Atra 'losing out'. For a few episodes, this does indeed seem where we are headed. Then Atra discovers the concept of polyamory via the polygamous Turbines group and all bets are off.

Having realised it is perfectly possible for a family to consist of multiple romantic partners, Atra proceeds to work towards ensuring everyone gets everything they want. Strictly speaking, this doesn't mean she is attracted to Kudelia as well – even if she clearly recognises Kudelia as an attractive person from the start and…

You know what? Acknowledging that the information about their eventual marital status was only stated in interviews at live events with no official record and seems to have been framed around raising the son Atra has with Mika, I'm going to abandon the pretence of both-sided objectivity and go straight for the throat. Turns out my patience for soft-footing this lasts about as long as it takes to say 'bi-erasure'.

Over the course of Season 1, Atra not only decides the end-game is some form of three-person wedding, she also:

Shows no jealousy over Mikazuki and instead chides him for not providing the correct emotional support to the girl he kissed.

Spends a great deal of time with Kudelia and enthusiastically throws herself into furthering Kudelia's goals, without necessarily understanding the technicalities.

Covers for Kudelia by pretending to be her during a confrontation with Gjallarhorn soldiers, getting herself soundly beaten up in order to prevent them from chasing after the real deal.

Drives an armoured car through a battlefield for Kudelia's sake, safely delivering her to a vital rendezvous.

Leaps in front of a massive mobile suit to push Kudelia out of its path, physically shielding the other girl with her body.

As much as it pains me to resort to the 'if this were a man and a woman, would it read as romantic' crudity – yes! Yes it would! Especially since in Season 2, Atra presents Kudelia with a good-luck charm bracelet she has woven, something she previously did for Mikazuki explicitly out of having a crush on him. I'm all for embracing platonic love (which is why Takaki and Aston are not featuring in this rundown) and there's nothing in the above list necessarily entailing attraction beyond deep friendship. But when Atra consciously repeats her actions towards Mikazuki (someone she goes on to definitely have sex with) with Kudelia and it leads to the scene between them where they declare how they feel about each other and Mikauki, looking for non-romantic angles takes more effort.

After all, if we are to read Shino's openness to Yamagi's affection from the things he says and how he looks saying them, we can certainly do the same for Atra and Kudelia's use of the word 'like' in reference to one another and their reactions to hearing it said of them. (Obligatory note that if there is some nuance in the original Japanese the translation doesn't capture, I'd love to hear about it. The English scripts, however, leave little to the imagination.)

It is indisputable that Atra feels a strong affection towards Kudelia and while I have been focusing on her a lot (she is by far the most proactive member of the triad), Kudelia reciprocates at every opportunity she is presented with. Even if there truly wasn't an intention to portray this as exactly equivalent to Atra and Mikazuki, the end result manages to be on par with Yamagi and Shino. Consider Kudelia and Mikazuki, for example. In terms of portrayal and the two-girls-one-guy trope being explored here, they have the same level of chemistry and the same absence of overt consummation as Kudelia and Atra, and it would hardly be a serious position to claim the show does not place the two of them in romantic conjunction, now would it?

You may at this point be wondering why I am getting so defensive of reading Kudelia and Atra as romantic partners. Honestly, I am too. On reflection, I think it's because IBO is playing around with such a worn-out and insipid means of wringing drama from characters who should know better, I keep searching for the catch. And yet there isn't one. This show really did respond to a nascent love chevron by having the mousy, homely girl tell the governor's beautiful daughter to shut up and get in the polycule, and turned it into a true triangle.

That's wonderful. I cannot properly express the wave of joy and relief that came over me when I realised this was the direction they were taking. It ends in tragedy, of course, Mikazuki giving up any chance of a peaceful life to die in battle, far away from the women who love him. But their lives continue because of his sacrifice and by all appearances they remain together. In some ways, for the overarching message of hope persisting on the back of heartbreak, the precise details of that arrangement don't particularly matter. So why not take the gayest reading possible?

What an excellent segue into a blink-and-you'll-miss-it, probably-stretching-too-far, nonetheless-compelling potential bit of queerness: Chad in the series epilogue.

One of the many tertiary characters in Tekkadan, Chad Chaden has minor speaking parts throughout Season 1 and a larger role in Season 2. He initially appears during a particularly dire early moment when it looks like everyone is about to be killed by attacking mobile suits. His obvious resignation to this fate sets the tone for a rather dour personality, at least while on the clock. Chad starts out as human debris, a person enslaved after a space battle and sold to the CGS military group as free labour. This gives him a very matter-of-fact attitude towards fighting and the kill-or-be-killed nature of being forced into it – he voices the sentiment that even when facing other human debris, they can't afford to show mercy.

Off the clock, Chad displays a more sensitive personality. He seems studious, learning about interplanetary communications from Kudelia's maid Fumitan and later being promoted to leader of Tekkadan's Earth branch. He has some difficulty acclimatising to being treated as a free person, proving unsure about the concept of wearing a smart suit instead of his normal fatigues. And he grows anxious when he returns to Mars to discover nobody told him two of the few adults in the group (Yukinojo and Merribit) had started dating, worrying that he's no longer 'one of the guys'.

The most we learn about his relationship preferences prior to the series epilogue comes in a comedic sequence about a third of the way into Season 2, when Shino suggests a trip to a local brothel. Eugene responds by proclaiming that he's realised money will not buy him true love. This prompts Chad to ask Merribit if this is true and, on her saying she supposes so, opts out of the trip as well. Judging by his body-language in the next frame where he appears, this is possibly a decision he regrets – perhaps owing to his anxieties, since he just passed up the chance for some team-bonding.

None of this is directly relevant to the topic of this essay. If anything, the scene I just described suggests that, like Eugene, Chad has previously gone along with Shino in paying for sex with women, only to discover he wanted more than just physical intimacy. But then we get the exchange in Kudelia's office during the last episode, following a time-skip after Tekkadan's defeat and dissolution. Now working for Kudelia as an assistant of some kind, Chad notes that Merribit is shortly to give birth to her and Yukinojo's second child, saying he and Yamagi intend to meet up later to plan a celebration. Eugene reacts with amused disbelief, accusing them of just wanting an excuse to go out drinking, to which Chad retorts, 'what's wrong with that?'

And the thing is he's blushing when he does. Which may simply be because Eugene is accusing him of slacking off – IBO characters blush all the time and their embarrassment is frequently to do with being caught acting immature or otherwise against how they want people to see them. But given the weight that 'drinking the night away' carries in regards to Yamagi following Shino's actions shortly prior to his death, it is easy to speculate this represents something more specific.

As far as I can recall, Chad and Yamagi do not interact at all over the course of the show's two seasons, meaning these lines present a rather unexpected combination of characters. Eugene would have seemed a more likely candidate to associate with Yamagi. He's positioned as Shino's closest friend, he comforts Yamagi over his grief, and they are together for much of the climax to the series' plot. So what has happened in the years since, that Eugene's teasing should elicit a blush from Chad instead?

If we put on our shipping goggles, it's far from a nonsensical pairing. Chad goes through an arc not too dissimilar to Shino's. He is knocked into a coma while protecting an ally from a bomb blast and subsequently the Earth branch gets swept into a war orchestrated by one of the factions within Gjallarhorn. On recovering, he blames himself for the many deaths that result, echoing Shino's line about thinking it better if he'd died in place of his comrades. On returning to Mars, he jumps head-first into mobile suit training, determined to make up for his perceived failure as a leader and cheering himself up through rigorous activity. Different though their personalities appear on the surface, there are clear commonalities here. Further, Chad's responses to his traumatic experiences have a more measured quality to them than Shino's. He is not nearly as reckless and provides clear directions to his comrades even while acting as a decoy against a dangerous enemy, rather than abandon any attempt to be an effective leader. Taken together, and coupled to a more long-term view of romance, these qualities might make him a 'safer' version of things Yamagi loved about Shino, creating space for them to be drawn together.

Or perhaps they're simply the most logical points of contact between the ex-Tekkadan survivors at the Admoss Company and Kassapa Factory and intend to make that an excuse to get companionably plastered for no greater reason than it being a nice time. I am speculating over a couple of lines and an animation choice. Nevertheless, it does not feel like unreasonable speculation. When we already have a veritable gaggle of characters who are queer or may trivially be read as such, it's hardly a stretch to assume one more.

Chad/Yamagi doesn't appear to be a thread the fandom at large has pulled on much, likely because the pairing of Shino and Yamagi is so prominent, it eclipses a mere throwaway possibility. But I'm glad it exists within easy reach. And even if we take off our goggles, these lines demonstrate life for the characters has not stopped. The ex-slave and the gay kid are not stuck, trapped by the tragedies of their past. They have instead grown in both confidence and happiness and now have peaceful, stable lives where they're on going-out-drinking terms. That above all is why I wanted to explore this exchange: it reinforces Iron-Blooded Orphans' rejection of the idea the suffering people like Chad and Yamagi go through is perpetual or inevitable.

OK, one more character to look at. Let's talk about Orga and asexuality.

Orga Itsuka, leader of Tekkadan and instigator of the series' events, is notable for his charisma, his drive to provide a safe home for his comrades, and his complete unsuitability for the grown-up activities he attempts. Trying to party all night leaves him puking up his dinner. He forces himself into a suit and tie to handle the administration of a break-out paramilitary company, despite finding it stultifying and bewildering. His goals spin like a weather-cock, as he's surrounded by older characters possessing strong convictions while unable to stick to his own. And he is ultimately undone by an unwillingness to ask for help, having assumed that, as leader, he must decide everything alone.

I suspect his expressed lack of interest in women is intended to help convey overall immaturity. Orga is a good soldier and tactician, but he plainly isn't prepared for adulthood, lacking the grasp on the complexities of life that implies. Making him uncomfortable about sex serves to heighten the impression of a teenager trying to navigate circumstances for which he's not yet ready.

Relatedly, it should be stressed Orga stating he 'doesn't care' about woman is a response to Eugene asking if he agrees love and kindness are what's important, as opposed to Shino's endorsement of boobs. On hearing this response, Eugene proceeds to mock his commander for inexperience. That he himself has only just had his first sexual experience with another person and previously said much the same about not caring about sex simply proves hypocrisy is a fundamental aspect of Eugene's characterisation. The whole scene is very teenage.

Matters have not improved much when Orga and Eugene's dynamic is revisited in one of the side-stories released via the Iron-Blooded Orphans G mobile game. A year and change later, Eugene continues to act superior about having 'experience' where Orga doesn't.

Orga takes this rather poorly.

(Subtitles by @trafalgarlog)

Eventually Merribit has to shout at them to stop being brats, shaming them for behaving like argumentative children. It's funny – and then you remember they basically still are children and this is headed towards more carnage that will not spare them for being young. Such it is to engage with Iron-Blooded Orphans.

What does any of this tell us about Orga's sexuality? In principle, taking it as a device to convey immaturity, nothing. Orga's persisting virginity could simply mean he's not worked out this aspect of himself yet. He is a busy young man who likely hasn't had the time to try.

Alternatively it could mean he is gay. Mikazuki/Orga is an extremely popular ship in the fandom and we might take Orga's professed lack of interest in women as 'evidence' of him swinging the other way.

Or we could take my view, that Orga is asexual and his embarrassment is rooted in just not getting what the big deal is.

To immediately clarify, I don't think he is ace because he 'hasn't worked out what he wants', I think he's ace because he blushes on admitting he doesn't care about women and does not try to prove otherwise once he's in a position where he could easily do so. In circling back to the same joke for the side-story, the writers portray Orga as continuing to be uninterested in sex and sensitive over being needled about it. Again, a feasible interpretation is that he's into guys. Yet this is an argument with Eugene, whose response to the idea of Yamagi being in love with Shino is basically 'you mean you didn't notice?' Eugene is a dork and jerk; he isn't bigoted. None of the Tekkadan guys are. It's unclear if homophobia is even a factor in the setting. Sexism is, but when someone as superficially macho as Shino is comfortable with male/male attraction, and there are same-sex weddings inside Gjallarhorn, we cannot assume stigma exists around being gay. So why should Orga be worried, unless it goes beyond a question of who you're attracted to and into the answer being 'nobody at all'?

When you're surrounded by people who happily wax lyrical about how the joys of sex make you a real man, the absence of a libido might easily become a sore point.

Again, I'm supposing. Again, there is room to do so. As I touched on with Chad, it is easy to read queerness into the text when the assumption of straightness has been taken away, which is something this show does wholeheartedly and deliberately.

Orga Itsuka is one of the first characters I looked at and realised, not only shouldn't I assume heterosexuality, I shouldn't assume sexual attraction at all. I cannot credit Iron-Blooded Orphans alone with this. I do credit it with being a piece of media that applies itself to inclusiveness in ways quite remarkable for a show about giant robot fights, produced to market toys.

The word we want here is 'normalisation'. IBO has a lot to say about what constitutes 'normal' and a lot of it accords well with my own views, particularly those that have me twitching whenever anybody demands we 'be normal' about something. Normality is horrible. It is cruel and it is callous. 'Normal' is a world run on exploitation, on slave labour and on police savagery. Normal is children forced to risk their lives to earn the money required to feed themselves, because it is normal for their parents be gone, or incapable of supporting them. War is normal. Corruption of political systems is normal. Death coming more rapidly for those deemed expendable by society is very, very normal.

But so is protest. The drive to do something, to change things. The capacity for caring about each other. Love. 'Normal' is just a statement about what surrounds us every day, for worse and for better. In too many pieces of fiction, normality is narrowed, rendered a neater, cleaner picture, often excluding the kinds of people we might run into on the street, or walk past, or see on the news, distant and dehumanised.

Queerness is normal, yet for a long time it has been one of the first things to be cut out of fictional worlds. And when it is present, it's a big deal. An object lesson or a cry of triumph over breaking free of unfair strictures. I love stories about queer joy and victory. Heck, I'm a sucker for a good, soppy gay romance. But these aren't the only kinds of stories we tell. Sometimes we need to reflect the worst aspects of the world and what it does to normal people.

In attempting this, Iron-Blooded Orphans commits to an idea of 'normal people' that includes those who are gay or bisexual, those of colour and those we'd call white, the polyamorous, the illiterate, the desperate, the powerful, those who throw themselves into the fight with everything they have, and those who are simply kind. Those who are accepting, understanding and compassionate. Those who need to be accepted, who struggle to be understood, who suffer for a lack of compassion.

There are all sorts of people in IBO and – as a certain cheery, violent dumbass once said – man do I love it. I don't believe it is reading against the spirit of the thing to imagine more diversity than gets outright stated, to interpret one of the leads as ace or suppose another side character is bi or pansexual. It would seem entirely natural if they were.

Everyone's welcome here, down among the debris and the bloodshed, where hope is precious and fleeting and still somehow endures. So why shouldn't we raise a few extra pride flags?

Queer as in 'fuck you'

This all said, taken as a whole, Iron-Blooded Orphans is not a story about queerness or queer romance. Nowhere is this clearer than in its ending.

I skipped over the framing of the final scenes of the anime when I discussed Kudelia and Atra. They form a striking contrast with the ending of The Witch from Mercury, where the conclusion is directly focused around Suletta and Miorine's love for one another, their bonds of wedlock, and the happiness they have found together. This follows from the show being primarily about their relationship. In Iron-Blooded Orphans, the ending focuses not on Kudelia's feelings toward Atra, but those she has for Akatsuki, Mikazuki's son, with Eugene even saying she's eager to go see 'the man she loves', setting up a brief moment of uncertainty over who the character with Mikazuki's outline actually is.

The nature of Kudelia and Atra's relationship post-time-skip is implied rather than stated: in the English versions of the script, they do not refer to each other using terms suggesting they are married, although Atra has dropped her habitual 'Miss' from the front of Kudelia's name. They do not have wedding rings (redundant as those would be alongside the charm bracelets) and Akatsuki does not call Kudelia 'mom'. That they are raising him together is suggested very strongly, in line with Mikazuki asking Kudelia to be guardian of his child if he died. There are non-romantic ways of taking this idea, though, and none of these are closed off as viable interpretations.

But why should we expect some definite statement about romantic status when the point being conveyed is how Tekkadan's legacy continues to shape the world? This is a story concerned with the exploitation underpinning the world and the effort required to make even the smallest wide-scale change. It is about how people trapped at the bottom of the pecking order are still people, still human, messy and complex. It is about their pointless deaths, they ways they struggle on until those deaths come for them, and why they matter, even if the world forgets them.

Mikazuki, the living weapon, the human sacrifice for Orga Itsuka's reckless ambitions, leaves behind a child who will grow up in a more peaceful time, in a society slightly better off than when he and Orga were starving on Chyrse's streets. He doesn't live to see it; Akatsuki does. For all the failures, the attempt wasn't a waste. Don't you dare disrespect the people who died by saying it was.

This is where the epilogue centres, on Akatsuki and on Kudelia's cherishing of the world Mikazuki and everyone else built. Atra and Kudelia's relationship is there, a part of the gentler life they now have (Atra's desires were always towards the version of her existence where Mikazuki retires to a farm; here she fulfils the dream with Kudelia alone). It just doesn't need to take up space for the ending to land.

Yet, as I pour over how queerness is incorporated into Iron-Blooded Orphans, I find myself considering the struggles queer people face in reality. The victims of the AIDS crisis, dehumanised by indifferent institutions. Section 28 and the attempted destruction of knowledge around non-heterosexual forms of love. Riots and campaigns, voices raised loud and proud. How we are equated with dirt and corruption, reduced down to facts others find disgusting. The name-calling. The petty, pathetic posturing that makes everyday existence pointlessly harder.

So it goes for space-rats and degenerates alike.

I am lucky. My life is about as far from that of a child soldier as it is possible to get. My sexuality has been largely invisible. My gender matches the one most favoured by my society. I still have more common cause with those born in poverty on the other side of the world than I will ever have with the aristocrats and billionaires who shape the direction of my country. Because we hold many causes of misery in common. Because we share the same capacities for joy and suffering. Because our humanity is so easily cast aside by those we will never be able to touch.

There is always a place for stories uncomplicatedly about queer love conquering all. Equally, it is important to recognise the places queerness overlaps with stories about the many other ways the world casts people out. It is vital to be able to explore loss, futility and heartbreak. It is essential to capture why we strive onwards despite how heavily tragedy might weight us down.

We may be doomed. Our lives still matter. To ourselves, to each other and, whether they remember or not, to those who come after us.

So, no: for all the queer characters it contains and the many more we might trivially imagine queerness into, Iron-Blooded Orphans is not gay in the vein of The Witch From Mercury. It is not a happy story.

But it is a tenaciously hopeful one and, from certain angles, that alone looks queer as hell.

---------

Happy UK/US Pride Month – in honour and memory of Marsha P Johnson and everyone else who refused to go quietly.

I shall leave you with one of the least straight things ever to be included in any Gundam show.

[Index for further writing]

[dearweirdme]

Living in South Korea would make it challenging for Taehyung to have a family as a single, non married man. Surrogacy is not legal or illegal, but the parent needs to adopt the child. The same would go, I gather, if you used a surrogate elsewhere and then brought the baby to SK. The surrogate mother is also considered the legal mother. While laws are changing, same sex couples are not able to adopt - and single men who want to adopt are seen as suspicious.

Given how filial Taehyung is, I don’t see him leaving SK and moving someplace else. His family, friends and work are in SK.

Seems like a bit of a conundrum.

Hi anon!

So even when I say this is offensive, you don’t take a moment to consider why that is and your response is to tell me about legislation? I’m aware of legislation… you however, are not taking queer people’s feelings and relationships seriously.

Let’s take this conversation away from Tae for a second, because I think it’s because of him that you find this difficult (wether it’s the need to have him be with a woman, or just that you enjoy the mystery more than his actual feelings I’m not sure).

Imagine for a bit that you’re a gay man. You’ve known since puberty that you are gay. You’ve struggled with coming out, because you know society is harsh and you will lose loved ones when you do. When you fall deeply in love though.. you do. You want to be with your partner in public and your love for each other means that you will sacrifice the relationships with loves ones who don’t accept you. That is how deeply you love each other. Life is hard, but love is strong and the two of you are happy and you want to stay together for the rest of your lives (not different from straight people at all). When the topic of marriage is prompted.. do your thoughts go to your partner, or do your thoughts go to an unknown woman even though you have been very much in love with a man for years and have built a life together?

Sk might be behind in queer legislation, but queer couples do exist. The queer community does fight for legislation to change for the very reason that they are incapable of changing who they are. They see the world change around them, they know that somewhere on the horizon there’s a strong possibility of them obtaining more rights.. because that is what’s happening in the world. When you diminish a queer couple’s feelings of love as though it is something they would consider leaving behind.. as if they would consider being with a partner of the opposite sex because it’s easier.. you do not understand the hardships they have possibly already gone through and you do not understand anything about love.

I’ll do you one better. I have recently watched The Boyfriend on Netflix. It’s a Japanese queer dating show on which we see queer men (two bisexuals and the rest gay) living in a house together for a couple of weeks while trying to find love. Two of them actually start falling in love and do you know what they talk about on one of their dates? Adopting a child. Japan doesn’t allow gay marriage and therefore doesn’t allow queer couples to adopt. Do you think these two men, while on a queer dating show…. on a date with each other… are talking about having a family with a woman?

Do better anon! Seriously, please invest in watching footage of queer couples trying to have a family. Go and watch same sex couples finally being able to marry when their country allows them.

If Tae is queer like we think, and in a relationship with Jk for years.. when prompted about marriage he would think of Jk and starting a family with him. The idea of it having to be a female comes from you and from homophobic society.. it has nothing to do with the reality and feelings of actual queer couples.

[makingshortstorieslong]

I Want to Be a Wall

The third and final volume of this manga just came out - or, I guess it probably did in Japanese a while ago, lol, idk, but I just got my English translation of it as an eBook today. And I just finished reading it and I loved it <3

I'm going to cross post this to the Koisenu Futari and Konya Sukiyaki Dayo tags (sorry but-) because I would STRONGLY recommend this story to people who enjoyed those shows. It's about an asexual (also aro but they just say asexual) woman and a gay man in a platonic marriage.

I would say that when I started reading the first one I thought I wouldn't like it because of some of the jokes about the woman, Yuriko, being a fangirl in a way that made it seem like she was going to like be really weird about irl shipping her husband and his unrequited crush? But as the characters are filled in more it goes back to being funny. She does know the difference between fiction and reality and I actually really did enjoy reading about her fandom obsession. So if you start reading and you're also put off by that, push through. It's not very long anyway, I think the third volume took me about an hour.

[conscbgb]

THEY LOVE EACH OTHER

THEY ARE HAPPY

THEY HAVE BEEN TOGETHER SINCE THE END OF "THE BOYFRIEND" SHOOTING

THEY LIVE TOGETHER!!!!

Ahhhhhh! I'm so happy!!!!

Now I wait to rewatch the whole live with english subs 🤣😅

[mygwenchan]

Since I still see people complaining about the sex scenes in Playboyy:

The stark contrast between artistically crafted shots of non-sexual scenes (some of those truly look like they could be art installations) and sex scenes that seem unaesthetic, hasty, somewhat badly performed and sometimes even comical, highlights the conflict between what we expect and dream of versus the true nature of interpersonal relationships.

Dream versus reality is one of the big themes in this series. We can see it in the way the characters expect certain things from their relationships, only to be repeatedly confronted with the fact that they won't get what they want. Teena dreams of sleeping with a virgin, but both his feelings and Zouey's hesitation get in the way of it. Zouey wants to conform to society's expectations about sex, he really does try. But in the end sex repulses him for some reason. First dreams of running away from home to have a steamy affair with some hot guy, but he learns that Soong isn't really into the idea. Soong seems to like First, but he is hit with the reality that affection won't be able to buy you dinner and it won't pay your rent. And then we have Nont who tells himself that his brother is still alive, while deep down he already knows that something bad must've happend to Nant (I'm delulu about that too, so I feel you Nont!)

Likewise the viewer is also forced back into reality. The dreamlike sequences end abruptly and instead quick humping and bad audio (the Japanese!) is thrown at us. Did you expect something kinky and hot? Did you expect romantic kisses in the rain? Well, you won't get any of that! In Playboyy sex scenes are used as a tool to make the viewer look beyond the dream. Sometimes sex is used for educational purposes or it tells us more about a character and sometimes it makes us think about our own relationship with kink and sex.

In addition, I believe it is also a direct critique towards the majority of BL series that are out on the market right now. Because those shows usually try to ascend sex between two men onto a higher plane. They only highlight the dreamlike romantic aspects of gay relationships and ignore real life issues, even the really small things (how many sex scenes have we all seen where they don't even use the lube and simply go straight at it...). Sex is not soft background music, slow motion shots, perfect hair and pretty make up, the right pose at the right time... Instead it can be messy, funny, weird, with sweat pouring down your face and smeared mascara.

[marumafan]

Hello, I am an old fan of KKM and I am really glad that I found your blog. Especially, since I have seen your conclusion about some additional information: You are right. Indeed. Yuuri is gay or bi...and he did go on dates with guys before or he would have had no reason to feel bad at a certain point in time, when the one whom he had defended resigned the team.

Yuuri has basically no interest in going out with girls, but pretends that he is solely interested in them.

What I also considered interesting is that he basically was thrown out of the team because of defending a love interest...He punched the coach, when I remember correctly...and he did get himself into the engagement with Wolf, because he did not dare to really punch him with a fist, because he felt at least attracted to him physically at that time.

So thank you for your your analyses up until now.

Hello there! Yes, but it's not like he goes around acknowledging it. I think that Yuuri is deep in the closet.

He's a character of his time. No way a teen would admit to being gay in the 2000s (they don't even do it in the 2020s here in Japan).

Just go to wikipedia and look at the summary table at the end of the article here to see how many rights LGBTQ+ individuals lack. Every red cross is an inequality. The dates Yuuri went on with those guys were very hush-hush, and I don't think he could quite admit to himself or others that he's gay or bi. For me, the clearest acknowledgement that he's 'not straight' is when his mom asks him if he's into 'people who wear uniforms' and he starts crying in Change /(Convert) the same story where he goes on a 'Christmas date' with the other guy.

After that story, there was no doubt in my mind that he already knew he was non-straight before meeting Wolf; but also that he was keeping it quiet.

I think his extreme closetness is difficult to understand by younger people and/or people who do not live in Japan. Anyone who lived in the 2000s America and is or knows LGBTQ+ people knows very well how closeted people were, especially after Matthew Sheppard. All of my closeted friends went deeper into the closet... and the ones out of it, quietly went back. It was a time of horror and I can only imagine it was worse in the past. That's simply the case that I recall as the horror of my time in the West.

I have many personal stories about the cruelty in treatment of LGBTQ+ people in the 2000s by Westerners AND Japanese, but I don't wanna get into it.

I'm just saying, I get Yuuri. Anyone living as 'non straight' during those years 'gets' Yuuri. And his wishful thinking about how 'getting a girlfriend will magically make him straight ', I know well and have seen myself.

This is a very realistic character of the 2000s.

It gets annoying at times, cuz he is a fictional character and why can't he just get it on in this fictional world with the cute guy that he's very much into?!

Stories are fantasies that we go on to escape the cruelty of reality, and when this guy 1) goes to a place with no sexual discrimination, which is what has kept him closeted 2) is surrounded by cute dudes and 3) the cutest dude is also into him , also he's like the king, you wonder... why can't he just accept the blessings the rest of us don't have?XD

But I think he struggles, like a lot of people, with his sexuality, and so he doesn't know really what to do.

Having said that, idk.... I feel like once they 'start sleeping in the same bed and have a child', there's a very clear innuendo that they're banging , but idk. The author keeps everything in a state of 'deniability' .

Which again... understandable.

You didn't read this from me, but def she's writing herself in Yuuri.

I think it's clear though, as the years go by, that she turns Yuuri and Wolf into a very solid couple with stories like Do you want an Exorcism, Crossheart, Misepan 2. Misepan 2 was released with the ending of the anime on DVD (2010s when she stopped writing), and Yuuri showing his love for Wolf in that story with the 'I would give you anything, Wolf' phrase, really sealed the deal for me.

After that we've gotten quite a few stories, and she even married them in It happens to everyone 2 and Shibuyas , two of the last stories that present them in the 'future'.

Like I said many times, they've been end-game for a while... it's just that no one noticed, cuz they're two guys.

[arterartthings]

There’s been a lot of Max/Bradley ship art influx lately and so allow me to show off my own Ship art of that lovely brat

Bradley Uppercut III x Kaito „Clio” Matsuda to be more precise

Some headcanons about Kaito:

Clio is an exchange student from Japan. He studies Japanese culture anthropology and history

He comes from a very rich family with long history reaching Azuchi-Momoyama period. His relationship with his male relatives however is very strain

Clio is a half-blood- his mother was a french Romani woman, while his father is full japanese

This caused our poor boy to have a lot of complexes about his heritage from mother’s side back in elementary and high school. Mostly it was caused by his relatively darker skintone and curly hair (he actually straightens his hair to this very day).

He recently got over it and now prefers his more Roma nickname. He actually dislikes being called by his surname or real name.

He was very hated by middle school teachers for his unruliness. At some point, when they forced him to cut his hair, he purposely failed his tests and assignments as a form of protest for ridiculous standards. When Clio was allowed to grow his hair back, he rewrote all his tests near perfectly and got very good grades from then on.

He became somewhat of a hero and symbol among other students, who also started failing their tests and assignments en masse on purpose so the school would be forced to loosen restrictions on appearance (ot worked)

As you can guess, he was a delinquent with a heart of gold.

Also, although I didn’t draw it, he vapes. A lot.

Back to ship with Bradley

When Clio started attending the exchange program, his first encounter with Bradley was quite hostile. Bradley basically challenged him to prove his superiority by (inserting casual racism) showing off his karate skills. Bradley later regretted it with black eye from him.

They somewhat reconciled after Clio showed him off his ice skating skills on the rink and Bradley invited Clio to Gamma Mu Mu as their sportsman.

And Bradley had lots of issues understanding cultural differences of Clio, like him sleeping on floor mattress, spending an hour in a bathroom, eating soup for breakfast or taking off shoes upon entrance to frat house.

Clio COULD NOT stand living with other gammas (aside from Tank and Bradley). He always found a lot of their habits very annoying to bear (like leaving empty beer bottles, leaving laundry mess or not cleaning regularly).

Their romance began to grow once they started tutoring each other. Bradley was tutoring Clio in English and skateboard, while Clio tutored Bradley in Math and ice skating.

They tried to dismiss their feelings towards each other. Eventually, thinking his love is one way, Bradley confessed his love to Clio, expecting ridicule, only for him to clap back with that he also has feelings for Bradley.

They thought that nobody knows about them being gay and that they must keep it a secret. However, their love in reality was an open secret among gammas. There were so many situations where they caught the lovebirds sleeping on sofa together or that Bradley accidentally once left out a clearly love letter to Clio in the locker. But in the end, Gammas were absolutely fine with their leader being gay. In fact they made sure nobody bullied Bradley and Clio on prom night.

After graduation, Bradley has chosen to go with Clio back to Japan and find study opportunity

Now headcanons about their love

Clio os the dom, Bradley is the sub.

Clio is the one who cooks, while Bradley is the one who cleans after dinner.

Bradley doesn’t mind Clio calling him „Brad” anymore.

When sleeping, Clio always has to cuddle Bradley like a pillow all night and wriggle around their futon with him.

Clio also tutors Bradley in japanese.

Their favorite time of the year are Hanami and Christmas (they eat a lot of KFC on holidays)

Both fathers of the boys disapproved their love, but after some time (and mr. Uppercut and mr. Matsuda eventually met) they just let it fly.

Might feature doodles of them in the future

[afabstract]

The Boyfriend Episodes 7, 8 Review

A new arrival shakes up the dynamics on "The Boyfriend," sparking fresh drama and unexpected connections.

Follow us on Twitter | Instagram Well, well, well… the Chef on “The Boyfriend” is officially the most popular participant on the Netflix show so far! Episode 6 ended with a new member called Ikuo joining the dating reality series, so there’s quite some scope for fresh surprises. The guest panel of “The Boyfriend” is completely invested in all the drama going down in the beach house between the…

[fangxin-guoshi]

Banana fish re-review ~

I did a rewatch of banana fish and oh my God I forgot how good this series was. Considering the original manga came out in the 80's in JAPAN, it was SO ahead of its time. One of the best depictions of gay characters I've ever seen in Japanese media, even by today's standards.

Some more silly thoughts:

Like yoshida just casually dropped a manga with an insanely progressive take on the bl genre by showing a complex queer interracial relationship with incredibly well-written characters. Honestly the fact that ash and eiji's relationship wasn't explicitly defined as romantic is a plus imo. Not being able to rely on obvious romantic gestures like kissing, hand-holding, romantic confessions, etc. actually forces the writer to develop their relationship without that crutch to lean on. That's why ash and eiji's relationship is so good, because it doesn't rely on surface-level romance to get across the fact that they love each other and instead use subtlety and little nuances in their interactions. It's obvious from the subtext and how much they're shown to care for each other.

Not to mention the great depiction of black characters (I know portraying black characters non-offensively is like, the bare minimum, but may I remind you this is the EIGHTIES in JAPAN, and there are so many CURRENT animes that have an issue with it).

I mean yea does it have its flaws? Sure. Ash's admittedly very lame "lynx" title that comes with many wildcat metaphors, eiji being a bit passive in the first half, sort of cringe portrayal of America, etc. but my God the way she handles the trauma and character dynamics is incredible.

Ok so I did have a uh... Not really a criticism but something that I noticed that got me thinking. I feel like some shows use dark subject matter as a bit of an easy way to evoke an emotional reaction from the audience. Sometimes authors give characters horrible backstories as a way to make the audience THINK the character is complex and interesting but in reality it's a bit of a lazy writing tactic. Low effort high reward kind of thing. Banana fish obviously does have brutal subject matter and ash is really put through the ringer, but I love that yoshida doesn't let that become the axis of his character. He has trauma that greatly impacts him, but he's also super developed on his own apart from that. When I think about Ash's character, I don't immediately think about the traumatic backstory parts. The balance between how significantly the trauma affects him vs making sure that's not the ONLY part of his character is extremely well-executed.

Scenes that stuck out to me (not including asheiji ones bc it goes without saying theyre all amazing)

- the interrogator playing Ash's tapes after being arrested ("later, movie star" was the most brutal line ever omg)

- max burning the photos of ash (underrated moment this was SO good),

- any and all interactions between sing and blanca (they're such an unlikely duo peak comedy right there)

- the convo between sing and yut lung in the last episode

- ash stabbing the guy in the dick with a fork

- callback to ^^^, ash stabbing the banana with a fork

- Ash's breakdown in front of dino (ep 19 I believe)

- the entirety of ash escaping from the "mental hospital" and then having to go rescue ibe and max lmaooo

- ash brutally murdering Abraham(?, the redhead guy) by blowing abt a thousand holes in him w a machine gun as payback for shorter

- ash shooting shorter

- running joke of max being Ash's dad

- everyone constantly manhandling yut lung by yanking on his hair (dude get a haircut)

- ash immediately going to shoot himself no hesitation after yut lung told him he wouldn't hurt eiji if he did so (technically asheiji but I'm keeping it since this was a yut lung and ash scene)

- "what does this picture look like?" "Your wife"

- eiji's cute stupid little outfit he wore when he went to go find shorter in Chinatown

I also have a confession:

I LOVE yut lung. Him being paralleled with ash, but instead of finding love he let hate consume him because he had no one unlike ash who had eiji was just devastating but in a good way.

So yea those are my messy thoughts after finishing it. I'd argue that it was probably one of the best pieces of queer media to exist at the time. In the world. And one of my personal favorite pieces of queer media ever.

[polandspringz]

Thoughts/Brief Rant about Tadaima Okaeri (I like the show I promise)

I made a thread about this on Twitter, but I've been following the show since it released, although I have yet to watch this week's new episode yet. I saw the pheromone clip on Twitter though, and all I could think was FINALLY and so it made me want to discuss something that has been bothering about the anime since the start.

I honestly feel like its REALLY under utilizing the omegaverse concept.

I have not read the manga, but I know the first episode cut out Hiromu being a bit more possessive around Masaki. I have also heard that apparently this series was made as part of a magazine project that was supposed to help introduce Japanese fans to the concept of omegaverse to begin with, so I understand it wanting to do a softer approach to all the world building. However, most episodes of the series, I find myself ask- "What is the point of this even being set in omegaverse?"

(This may just be a case of the anime changing things and toning down the omegaverse stuff for TV, and the manga may have more, but at the moment I am only judging the anime.)

Although this series has the trope of "omegas being lower class" or discriminated against in society, I have not seen an omegaverse before where it is the overwhelming NORM of the society to favor same designation couples (so Alpha/Alpha, Beta/Beta, Omega/Omega) and for an Alpha/Omega pairing to be considered abnormal. Omegaverse is built around the alpha/omega pairing traditionally, so I was surprised by that. If Alpha/Alpha is common place, then that tells me the viewer that this is a world where everyone must be able to get pregnant, or that Hiromu's parents must have had an omega surrogate, since they are Alpha/Alpha.

I understand that what this show was trying to do was probably create an allegory for the discrimination that same sex couples in reality face in Japan, but do it in a fantasy world setting where it wasn't actually about them being same sex. The only time we see someone point out "a male/male couple" is Yuki in the first episode or so. Everyone is actually alpha/omega-phobic instead. So this is a world where its okay to be gay, you're just discriminated against for A DIFFERENT reason. I almost found it funny because having alpha/omega being problematic almost was like... wouldn't that be the equivalent of being straight in terms of omegaverse. With it being opposite instead of same-designation attraction. I digress.

My confusion was furthered by the episode where Masaki goes into heat. While I understood him going to the hospital for suppressants (I am aware of the difference in Western vs Japanese omegaverse in terms of how our health care systems is reflected in these stories), I found it out that Hiromu mentioned not being sure how to help Masaki through his heat. To be frank, USUALLY when an omega is in heat, they need sexual relief. While I didn't expect that to happen ON SCREEN, since I understood the show was going for a more wholesome approach, and it is understandable that when an omega has their heat, that doesn't mean they always are consenting or wanting for sexual activity, Hiromu's wording felt strange to me. It seemed like because Alpha/Omega pairings are so rare, alphas don't understand what a heat even is. It seemed to imply to me that its more common for omegas to help each other through their heats.

The reason this doesn't make sense to me, is now with the pheromone scene in the newest episode, the show seems to have reverted back to TRADITIONAL omegaverse tropes, but it feels contradictory towards everything else thus far. If an alpha reacts so strongly to an omega's pheromones, it seems like that biologically, it is designed that an alpha and omega would be together. So then why has society decided to go against that and insist upon same-designation couples? I feel like pheromones should have been more of a thing in the beginning, because then we would see how Alpha/Alpha pairings work with their own pheromones.

What I'm trying to get at is it doesn't feel like it makes sense, and I wish the show would explain the why behind this in the world. If the biology of Alpha and Omegas causes them to be attracted to one another, then I want to know what made society decide to oppress omegas to the point that we've come to a point where no Alpha wants to be caught dead with an Omega in the event they pass on the omega gene. I can understand that maybe omegas are repressed because they were- well, similar to woman's status in society throughout history, expected to be mothers and give birth and take care of the house. And if this is a world where everyone can get pregnant, then yeah why would you need omegas. But then why are they discriminated against to begin with. And if biologically all pairings can get pregnant by each other, then we should see more pheromone reactions that draw attraction to each other besides just with the traditional Alpha/Omega.

In conclusion, I have no clue why I care so much about omegaverse. It was just very frustrating to me as a viewer to seemingly be given contradictory information. I felt like the anime was not explaining things very well. Hell, I did not even KNOW Yuki was a beta until I looked it up just now. I almost thought he was an omega for this long because of how Masaki said he was reminded of his past self in Yuki. Perhaps that was just one detail I missed in the show, and hell, maybe I've missed a ton of things and am completely wrong, which I will admit is entirely possible! Please don't get mad at me if so, and just direct me to the timestamps in each episode so I can clarify things for myself. Overall I just found this series, while enjoyable, sort of pointless in its attempt to use the omegaverse concept. I feel like you could remove the omegaverse world entirely from this series, and it would still work. Masaki could be transmasc to explain the pregnancy, or hell its just an mpreg universe without omegaverse. The caste system type of discrimination is common in omegaverse, but I could see just Masaki still being oppressed and shamed his whole life for a different reason, creating his low self esteem, and disapproval by Hiromu's family as well.

TLDR: I went into this show wanting omegaverse. While I enjoyed the found family immensely, I came here for omegaverse, dammit. And it didn't really deliver.