It’s been another big year for anime-watching on my part, with more access than ever before to both the currently-airing series themselves and the hot goss on which of them are worth checking out. And so once again I’ve gathered mini-reviews of my favourite series into one handy-dandy post! This is a mix of series that came out this year, series from days of yore I decided to rediscover, and series that were locked away on Amazon until recently that I’ve only just had the chance to check out (R.I.P., Anime Strike or whatever that was). This list contains coming-of-age stories, steampunk shenanigans, magical mayhem, a friendly skeleton, and a lot of queer themes and female protagonists. If that sounds like your jam, do take a look–I’m happy to share my thoughts, and maybe you’ll find something that sounds fun! Continue reading
Fantastical fiction is an ideal space for working through complex real-world issues using the frame of allegory, metaphor, and a little bit of magic. Yurikuma Arashi is one such series, a step detached from reality but with something to say about real-world problems: broadly about bigotry and ignorance, but also more specifically about homophobia and the societal stigmas queer women face.
While the series’ constant and varied use of symbolism is sometimes flawed and problematic, its message also lands with considerable impact because it includes protagonists that belong to the marginalised group at the heart of its magical, metaphorical conflict. Namely, Yurikuma Arashi uses a fantasy setting, exaggeration, and abstract visuals to deliver a message about the prejudice that queer women face, and, for all its flaws, works doubly well because its main characters are themselves queer women.
Head to AniFem for the full piece!
Everyone has a “brand” in their fiction, and the longer I think about it the more my brands seems to be “magical and metaphor-heavy queer girls’ coming-of-age stories” and “anything that messes with genre in a meaningful and interesting way”. Fortunately for me, this seems to be Kunihiko Ikuhara’s brand as well, as seen most obviously in Revolutionary Girl Utena and his more recent work Yurikuma Arashi. Both stories begin framed very obviously within a certain genre, only to have those familiar genre framings interrupted… and then the story itself becomes about dismantling that genre and pointing out how restrictive it can be.
Spoilers for the end of both series (including Adolescence of Utena) ahead! Continue reading