Tag Archives: genre study

Our Flag Means Death and the Treasure Hunt for Queer Genre Fiction

This post contains spoilers for the end of Our Flag Means Death season one.

Traditionally, fiction centring on queer characters has tended to be anchored in contemporary realism, making genre works—sci-fi, fantasy, mystery, historical, etc.— exciting and notable. This is true for basically every field and medium you look to: statistical studies like Malinda Lo’s note that “Historically, LGBTQ YA books have mostly been contemporary realistic novels”, making the slow increase of more genre works for that demographic intriguing. In the world of anime and manga, yuri, BL, and more general LGBTQIA+ focused titles also tend towards realistic settings, making series like Otherside Picnic and The Executioner and Her Way of Life really stand out for their clear positionality in sci-fi and high fantasy respectively.

When we get mainstream queer titles onscreen, they tend to be the Love, Simons and The Miseducation of Cameron Posts of the world. And these, of course, are important advancements! Every queer film that hits cinemas, every queer series that hits streaming services, is part of the evolving history of queer storytelling, and dismissing any one of them because they’re “just the same realist tropes again” isn’t helpful.

But it does mean that when a major network releases a work of queer fantasy, sci-fi, or in this case historical fiction, it stands out as something new and noteworthy. And it opens new, unique possibilities and ways forward that ought to be studied and celebrated alongside the simple fact of a “gay pirate show” existing.

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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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Farah Mendlesohn’s Four Funky Factions of Fantasy

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Once upon a time, a scholar named Farah Mendlesohn set out on a valiant quest to create a classification system for the fantasy genre. The result was her 2008 (yes, “once upon a time” is approximately in the realm of 2008) book Rhetorics of Fantasy, an analytical and example-piled volume that digs deep into the question of what the different types of fantasy are, what we expect from them, and why they work.

Mendlesohn assures the reader that these four categories she’s come up with—Portal-Quest, Immersive, Intrusion, and Liminal—are not the new “rules” for fantasy writing nor the be-all-and-end-all of classification within the genre. They’re a tool meant to make studying these stories easier and more interesting, allowing readers, researchers, and fans to look at the genre from new angles with a new frame of reference. And so, just as I have previously brought you Campbell’s Hero’s Journey, Tolkien’s Cauldron of Story, and Leavy’s Swan Maiden, I bring you Mendlesohn’s Rhetorics of Fantasy, summed up in several paragraphs and with a lot more anime and video games than the original textbook. Continue reading

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Genre is Fake (But Very Useful)

"You're all just jealous of my jet pack"

Credit to Tom Gauld

Every text I’ve read that has anything to do with genre study dedicates at least a few paragraphs to the disclaimer that genre is slippery, arbitrary, and, while a useful tool for analysis, kind of a pain in the ass. This pain is only made worse if we take this system of categories to be Holy Doctrine rather than something we made up to make talking about stories easier. So, okay, maybe genre isn’t fake. When I say genre is “made up” I mean genre is “socially constructed”, rather than “not real”. Here, Brian Attebery says it better:

Both literary studies and folklore are built on the idea of genres, rather as biology is built on categories, from kingdom to species, reflecting morphological similarity and common descent. However, unlike, say, raptors and perching birds, different genres do not exist until someone imagines them.

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