While the currently airing sequel, Cardcaptor Sakura: Clear Card was created roughly twenty years after the original series, it so far seems less actively progressive than its predecessor. Specifically, it’s missing the original’s focus on explicitly representing LGBTQ characters as well as the way it sensitively portrayed their lives and emotions.
In Laid-Back Camp, the main characters’ relationship develops over the course of the series becomes a rewarding story about female closeness; Ms. Koizumi, on the other hand, sticks to the status quo established in its premiere, which creates a stale and repetitive story that perpetuates negative tropes about queer women.
Through its premise, dialogue, and visual language, Ristorante Paradiso is a story that’s clearly told from its female protagonist’s perspective and directed at a female audience. After the Rain, on the other hand, seems mostly directed at the (straight) adult men its seinen magazine is so obviously targeting.
To break a bit from the usual “Versus” model, I wanted to explore three different kinds of sex-focused narrative models—exploitative fanservice, bawdy comedy, and honest explorations of sexuality—all found in a single show: Miss Kobayashi’s Dragon Maid.
If fanservice is gratuitous T&A that exists solely to titillate its audience, then the massage scene in WorldEnd is fanservice in its purest and most distasteful form. So how could it have done it better?
Rather than tackle the immense subject of characterization as a whole, my objective is to focus on one aspect of the portrayal of female characters in isolation: how camera and context can be used to sexualize or objectify a character in just about every conceivable situation.
