Category Archives: Fun with Isms

Genre and Gender in Wonder Egg Priority

Wonder Egg Priority is perhaps, by now, most famous for how it started out strong and then scrambled itself. The shift from dreamy fantasy to convoluted sci-fi and the show’s unsympathetic treatment of its young female characters, particularly in its finale, are two key factors in the series’ downturn. But these two storytelling issues do not exist separately; they intertwine and inform each other.

Egg’s shift from magic to sci-fi coincides with its shift in character focus. Early episodes center on the four female protagonists. But by the end, its narrative authority lies with its adult male characters, the Accas and Ai’s teacher Mr. Sawaki, who explain the motivations of teenage girls rather than the girls themselves telling their own stories. Intentional or otherwise, it’s worth examining this shift in priorities from magic and the emotional reality of young women to science and the “logic” of grown men. It provides insight into the author’s biases and underlying gender politics, anchored in a study of the series’ genre politics.

Read the full article on Otaku Tribune!

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Affection That Devours: Beastars and Relationships

“Oh, please don’t go—we’ll eat you up—we love you so!”

Maurice Sendak, Where the Wild Things Are

This post contains major spoilers for Beastars season two

In Beastars, the friendship between a deer and the wolf who bites his leg off might be the healthiest one there is. Does that sound bananas? Yes? Excellent, welcome to Beastars. This series about anthropomorphic animals trying to navigate their teenaged years (feat. a murder mystery) has always been deliciously weird, and always been layered thickly with themes about power. Chiefly, power imbalances, and the many ways those might manifest. Season two delves even deeper into those quandaries and reveals some intriguing new commentary on the topic.

Whether or not Beastars is a love story is, at this stage, up for debate (we’ll need to see what happens between Legoshi and Haru in the end), but I think it’s becoming clear that Beastars is a story about love. Love, and the ways that even a positive emotion like it might become destructive; and how a relationship might devour the people within it.

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The Half of It: Love Letters, Plato, and the Myth of “Your Other Half”

The Half of It opens with a musing on Plato: specifically, his idea that humans began with two heads, four arms, and four legs, but were sliced and diced by the gods and left forever searching for their missing other half. The stop-motion sequence emphasises the longing for connection that this severing left, showing an increasingly crumpled and shredded figure fumbling miserably after its own reflection. Until, at last, the figure finds its mirror image and they reunite… before the narrator dismisses the whole myth as silly and unrealistic.

It’s easy to see why our protagonist, Ellie—who is introduced to us via that poetic yet cynical voiceover—feels this way. In the first instance, she has no hope of finding her mirror image in her rural American hometown. As the child of Chinese immigrants in a sea of white teenagers, there’s no one who looks like her or can reflect her experiences back to her. As a queer teen, it becomes even more complicated. As both of these things, and as a child who had to grow up very quickly following the death of her mother, she enters the story pre-sapped of romantic naivety. She swats away the Greek myth of the other half in a monotone, and repeatedly dismisses the whole notion of romance throughout the film; yet there’s a sense of impossible yearning that underscores her whole character.

In the end, The Half of It is about longing: for acceptance, for freedom, for love, for something you can’t quite pin a name on, something that you know exists just beyond the horizon but who knows if you’re ever actually going to get your hands on it? It’s about small town isolation, the pressure to fit into expectations, the way that we can easily become silent and stagnant and cynical. And it’s about how love—familial, friendship, romantic, self-love—can haul us out of this. And it’s about the unshakeable bond between a gay nerd and a wholesome himbo, a dynamic that more media should, frankly, be exploring.

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Podcast | Wonder Egg Priority Postmortem

No use crying over cracked eggs. Vrai, Mercedez, and Alex perform a postmortem on the most potentialful disasterpiece of 2021, Wonder Egg Priority!

Listen to the episode (and, in a week’s time, read the transcript!) here on AniFem!

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One Last Stop and the Magic of Queer History

Someone will remember us
I say
Even in another time

Sappho fragment

She lets Jane’s memories transpose over here, now, like double-exposed film, two different generations of messy, loud, brave and scared and brave again people stomping their feet and waving hands with bitten nails, all the things they share and all the things they don’t, the things she has that people like Jane smashed windows and spat blood for.

[…] August can’t stop thinking how much Jane would love to be here. Jane deserves to be here. She deserves to see it, to feel the bass in her chest and know it’s the result of her work, to have a beer in her hand and a twenty between her teeth. She’d be free, lit up by stage lights, dug up from underground and dancing until she can’t breathe, loving it. Living.

McQuiston 2021, p. 267 – 268

It’s very easy to become detached from a sense of queer history. 98% of my knowledge about queer theory and history is self-taught, following recommendations from supervisors and reading lists and otherwise diving down research rabbit holes. I know there are holes in my knowledge base, and I frequently think how impossibly cool and helpful it would have been to have been able to take a class on this. But even if we’re not talking strictly academically, I think it’s easy to feel like you’re scrambling to “catch up on the homework”, so to speak.

There are gaps in the mainstream understanding of queer history, of queer writing, of queer activism, of queer life. From censorship, of course, and from the tragic loss of an entire generation of people who might have carried that information into the twenty-first century. But also from it being cluttered away in the margins, posed only as something hypothetical and weird and over there and not for you. As many benefits as the Internet has, experiencing queer community entirely online (and through uniquely online Community Discourse, good heavens) can leave you without a tangible, humanised sense of what’s come before, and its significance. A lot is rendered invisible and intangible, falls through the cracks. It can all feel a bit… nebulous. Abstract. Ghostly.

Casey McQuiston’s One Last Stop is a novel about history and memory. August, a cynical and practical twenty-three-year-old, moves to New York looking for a fresh start, and quickly develops a crush on Jane, the handsome and charismatic woman August shares a commute with. But Jane doesn’t just look like a cool butch punk-rocker from the ‘70s, she is a cool butch punk-rocker from the ‘70s: somehow unstuck in time, and trapped on the Q trainline for eternity. Jane doesn’t remember how she got stuck here, August doesn’t know how Jane is possible, yet here they both are in a metal tube speeding along electrified rails, their weird little liminal space where the past and the present collide.

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Pride Month Book Recs: Non-fiction, Memoirs, and Resources

Queer stuff can sometimes be hard to get your head around—take it from me, a person who has been on a deeply befuddling identity journey and been swimming in the deep pool that is queer theory for nearly four years. Academia on queer and gender issues is notoriously difficult for the everyperson to get into, often associated with stuffy and complex language and galaxy-brain concepts that may or may not resonate with one’s own day-to-day experience.

This is not universally true, and I promise not all academics are trying actively to make their work inaccessible as some sort of wicked ploy. Still, trying to Do Your Research and hitting a mental roadblock can be alienating and demoralising. Not everyone can pick up Judith Butler and immediately absorb that stuff into their brain (seriously, don’t feel bad—I have senior supervisors who admit to needing to read her work a couple times to “get it”!).

The good news is, you don’t have to! There are more accessible, beginner-friendly resource books on queer identity than ever before, and I’ve compiled a little list of some of the texts I’ve found most helpful, both for research and for fun.

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Genderless Gemstones: The Pros and Cons of Land of the Lustrous as Non-binary Representation

Land of the Lustrous has captured the hearts and minds of many viewers and readers over the years, for its stunning visuals, emotional character arcs, and being a rare example of a series with an entirely non-binary cast. The titular Lustrous are humanoid gem-people who present a potentially interesting space to philosophize about constructions of gender in a post-human future. However, they also potentially perpetuate harmful stereotypes about non-binary gender only being possible in alien creatures and otherworldly settings. This is an old and pervasive cliché that many non-binary viewers find tired and uncomfortable. Yet, at the same time, the story of Phos and the gems resonated deeply with many trans (binary and non) people, and many fans (myself included) find Phos to be a meaningful and exciting example of a non-binary hero.

These may seem like contradicting statements, but they can co-exist. In the discussion surrounding queer representation in fiction, things are not always so simple as stamping a work with “good rep” or “bad rep”. There are many tricky nuances, particularly when it comes to attempting to “represent” an identity that contains as many ways of being as non-binary gender. While the series is not perfect—or perhaps because the series is not perfect—Land of the Lustrous makes a useful case study for reading and critiquing through a queer lens. It’s a multi-faceted dilemma, and in this article I hope to hold the issues at the heart of it up to the light.

Read the full article on AniFem!

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Otherside Picnic and Groundbreakingly Goofy Queer Fiction

As a yuri adaptation starring college-aged characters and located squarely in the realm of genre fiction, Otherside Picnic is a rare beastie: while more and more are cropping up, yuri anime remain relatively thin on the ground, and the majority of titles are romances set in high school. The Otherside Picnic novels merely existing, and doing well enough to get a TV adaptation, is an exciting proof of concept, spotlighting that these stories are out there and there’s a definite place for them. With all this riding on it, there was a bubbling need for Otherside Picnic to be exemplary. As well as, of course, fans of the novels waiting eagerly to see the stories they loved come to life, there was an undercurrent of tension, a field of crossed fingers. A chorus of hushed voices saying “please let this be good.”

And you know what? Otherside Picnic is good. But maybe not in the way I expected nor “needed” it to be at first.

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Something Like Euphoria

There is a scene in Alison Evans’ Euphoria Kids where one of the protagonists faces a conundrum I’m sure is familiar to a lot of trans people, especially those caught in between “still figuring it out” and “coming out”. The boy—as he is called throughout the novel, as he has not found his true name yet—has to fill out a medical form. This requires, of course, his legal name. But his friend, Iris, suggests that maybe he can make a note for the doctor to only call him by his surname—he’s keeping that, after all, no matter what he discovers his first name to be. It’s a small thing, but it’s a revelation for the boy and in the moment it eases his mind.

On the train home, they have this little exchange, from Iris’ perspective:

I ask the boy, “Do you know about gender euphoria?”

He shakes his head.

“I think, when you smiled after realising you could just use your last name, that might’ve been it.”

“It’s just like, good feelings? About gender?”

“It’s like… the opposite of dysphoria.”

He stares out the window, watching the shops go past. “I’ve only heard of gender dysphoria before.”

“I found out about it a while ago, but yeah. I thought I should let you know.”

He smiles, lost in thought.


(Evans 2020, p. 200 – 201)

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Alice Oseman and the Revolutionary Power of the Platonic Love Story

He laughed again and hid his face under the blanket. “Why are you so nice to me?”
“Because I’m an angel.”
“You are.” He stretched out his arm and patted me on the head. “And I’m platonically in love with you.”

Alice Oseman, Radio Silence (2016) p.108

In 2017—somewhere on the stumbling journey to identifying myself proudly and loudly as asexual—I read Alice Oseman’s young adult (YA) novel Radio Silence. When I reached the passage quoted above, I stopped in my tracks. It was the first time I had seen those words put together to such an effect. Friends could say they loved each other, of course, in a fleeting and fluffy sort of way. But to imply that you could be in love with someone in a purely platonic way? That you could refer to something as a love story even if it was about characters who were “just” friends, who never even thought about dating one another? It was a little bit revolutionary.

But that, of course, is the revolutionary heart of aromanticism and asexuality—the quiet, but resonant, revolution inherent in the articulation of different kinds of love, in the deconstruction of the dominant social narratives of romance and sex. As I kept my eye on Oseman’s forthcoming novels, it transpired that this revolution sits at the heart of her writing, making them deeply resonant for aro/ace readers even when not featuring the identities directly. And when they do feature aro-ace identity directly, the quiet revolution is front and centre, and the results are incredible and incredibly important.

Read the full article in AZE Journal!

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