all the tme intersex people i used to know suddenly jumping on the newest transmisogynistic bandwagon and immediately spewing all the same “ur just overreacting, you call everything transmisogyny, stop being hysterical!!!” bullshit really puts into perspective how the intersex community on here gained any traction to begin with, y’all are not immune to pulling the same bullshit perisex people do and you’re calling the intersex transfems arguing against you perisex??? just to let afabs pretend to be us so you have that idealized quiet trans woman again, like i’m sorry but this is a strawman on par with “white trans woman” nothing has changed and at some point you need to realize that your conception of what these terms mean just doesn’t reflect their actual rhetorical use in real conversations about queerness
Watching Kafka and Reno’s interactions at the beginning of the Kaiju No.8 anime hits differently after catching up with the manga.
Reno protesting Kafka’s carelessness with his Kaiju form is a fun gag early on in the story, and his decision to stick with Kafka during the exam is endearing—but it’s amplified and almost sad in retrospect.
Manga spoilers from chapter 101 onward below the cut.
We learn in Ch. 101 that Reno has suffered a huge amount of loss in his life.
He lost his parents and brother. He lost the familiarity and daily routine of attending his existing school. He lost emotional security, witnessing his grandmother’s struggle with their mutual grief. He lost faith in the idea that someone might help.
Only for Kafka to trip headlong into correcting that belief.
Despite Reno’s disrespect, Kafka fully embodies his senpai title by teaching him the tricks of the trade. He looks out for and helps him without hesitation, and he brushes off any jabs or insults with a quick, internal wince.
And then Kafka absolutely shatters his core beliefs by shoving him out of a Kaiju’s path.
This guy—a guy Reno barely knows, a guy that he insulted seconds into their first meeting—is willing to die for him without hesitation.
Is it any surprise that Reno really would rather not lose him?
All of those reminders and all of that fussing is to keep Reno’s only hero from being scrapped for literal parts.
For the first time since the death of his family, someone steps between Reno and tragedy. Of course he’s going to do everything in his power to keep that savior alive.
Something that is an example of good character writing in Princess Tutu is how Fakir and Duck have little incompatibilities in their personalities (you know. Beyond the obvious). It makes it a little harder for them to get along and understand one another but you get the sense that they’re both putting the effort in. It’s sweet and it makes the relationship feel all the more real.
Fakir is serious, blunt, and he doesn’t sugarcoat things. His words often come across as harsh, even when there’s real care behind them. As a result, Duck—who reads his tone but not always the intentions behind it—doesn’t always pick up on when he’s doing something nice for her. For example, when Duck starts to tell Mytho she’s Princess Tutu, Fakir startles her to interrupt her, causing her to turn back into a duck. She takes offense and only later realizes he did it so she wouldn’t reveal her identity to mytho before she was ready (and even then I don’t think she picks up on the full extent of it). There’s another scene where he tells her point blank if she doesn’t want to fight the raven she needs to stop being princess tutu. It comes across as quite harsh and seems to visibly sadden Duck, though he cares about her deeply and is only trying to keep her safe.
The other “incompatibility” that comes to mind is how Fakir is sensitive and easily offended while Duck tends to blurt out whatever’s on her mind. While there are many scenes where he does get upset (take the scene in the Wandering Knight where he takes her request to stop getting in fights as an attack on his character), there are just as many where he doesn’t take the bait. Watch the show a few times and you’ll notice Fakir has a habit of going silent when Duck says something insensitive. He waits for her to finish speaking and he either ignores her or moves on. In those moments, you can feel the conscious effort he’s making to not lash out. Duck’s earnest naïveté is part of why draws him to her but at the same time it causes friction between then when she’s overly hopeful about something delicate to him, like his writing.
Anyways tldr; Fakir tends to hide what he’s feeling and thinking behind a deadpan demeanor, which sometimes obscures his true intentions from Duck. Meanwhile Duck tends to trample over the things Fakir is sensitive about in conversation, and he often has to stop himself from getting upset. In these moments you see how these characters may not completely understand each other but they care about each other a lot and actively work to smooth out their differences. Also it’s very cute when Duck realizes after the fact Fakir did something nice for her and her face lights up.
These little quirks make room for natural misunderstandings between the characters. Honestly, I like how Princess Tutu doesn’t smooth out compatibility issues or completely rewrite Fakir’s character when he and Duck become friends. The same flaws and tendencies are present, we just see the characters taking more active, conscious steps towards getting along.
[Image Description: A digital illustration of Don, Mikey, Leo, and Raph from the TMNT 2003 cartoon. They all sleep in a turtle pile surrounded by pillows and blankets. Mikey and Leo are in the center, Leo’s arm around Mikey’s shoulder and Mikey’s arm stretched out over Leo’s stomach. Mikey sleeps open mouthed, while Leo looks relaxed and is smiling faintly. Don is curled up around Mikey’s side with his cheek resting on Leo’s arm. Raph is curled up around Leo’s back with an arm over his chest. Leo rests his head against Raph’s shoulder. A beam of light falls over their faces. End ID.]
I need continuous musings and discourse about the Hunger Games or my life feels so boring. Please keep posting and tagging, you’re all so smart and insightful and interesting
(Honestly, if you read the books for school, absolutely just post your essays I want to read them aaaaall)
one big thing I’ve learned by 29 is that the Plan, the God’s Plan of it all I mean, is bigger than me and not just bigger than me but also bigger than my understanding of narrative threads and their limitations. And it’s bigger even than just a simple paradox, turning-on-their-head thing way of being bigger. It’s just so vast. And there is so much room for surprise and possibility and hope in that reality.
i really do think the desire to paint ten as unambiguously The Worst™️ when it comes to his relationship with martha is out of this desire to uncomplicate their relationship. to decouple them as friends and people who profoundly impacted each other’s lives. it’s just an easier narrative to swallow: that ten was Awful to her and then martha kicked him to the curb when she realized she was too good for him. easier, maybe, then dealing with the troubles of unrequited affection don’t have to be anyone’s fault, or that ten shut martha out in a lot of ways but let her in in others that he wouldn’t let any other companion near, or that they were still friends, they still wanted to see each other and be around each other, even though it was messy and sometimes hurt. you know?