Being a Better Man: The healthy masculinity of MY love STORY!!
Through its characters and their relationships, MY love STORY!! supports a vision of masculinity where boys and men can be openly emotional and not be shamed for it.
shoujo Tag
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How shoujo manga helps me grapple with internalized misogyny
I’ve been a fan of shoujo manga for 20 years, and for much of that, I’ve been fighting to get other manga readers to take it more seriously. I even started a podcast, Shojo & Tell, where I talk to other fans and industry professionals about it. Even so, the word “shoujo” for me evokes knee-jerk stereotypes and assumptions that I have to consciously fight against.
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Clothes Make the Guardian: Fashion and femininity in the Sailor Moon franchise
The silhouettes and clothing styles from the original 1990s Sailor Moon anime, as well as the manga, are consistent and intentional. What is feminine becomes something powerful. Unfortunately, this idea doesn’t carry through to much of modern Sailor Moon media. The new adaptations betray the purposeful fashion of the original series in a way that undermines the story’s overall gender commentary.
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Mirror, Mirror: Ouran High School Host Club and reflections of twin identity
One of the most clever anime/manga series of the 2000s, Ouran High School Host Club is best known for the gently satirical way it engages with classic shoujo tropes, with its characters performing and overexaggerating certain traits for an audience of squealing female clients. It examines twin tropes through Hikaru and Kaoru, playing up certain stereotypes while dismantling others, and creates a more human portrayal of twin identity than most of the media it parodies.
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Girls Over Flowers: My resonance with Makino Tsukushi’s burden of parenting
Tsukushi faces more than just bullying from her peers and the controlling grasp of Domyouji. She also must carry the additional burden of financial instability and the pressure from her parents to marry a rich man in order to resolve their money problems. This situation forces her through the psychological process of parentification, molding her into a spirited and resolute character that I came to love.
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The Metamorphosis of the Magical Girl Genre
As the tone in the Madoka series shifted at the end of episode three, so did the tone of the mahou shoujo genre as a whole, leading to a change in demographic focus that’s still being felt today.
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The Always Smiling Girl: How Tohru critiques toxic positivity
The narrative takes care to demonstrate that Tohru has her own issues, and highlights that her relentlessly positive attitude and her devotion to putting others before herself is not healthy. Ultimately, Fruits Basket explores and unpacks the harmful side of her relentless positivity as one of many healing stories across the series.
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Honda Tohru and the Strength of Nurturing
Female characters who put their energy into caring for others, rather than standing up and fighting, were dismissed as passive doormats who exist only for the male cast’s development. One such character was Honda Tohru. The first part of the remake has made it abundantly clear that Tohru is plenty strong. However, since her strength comes in the form of traditionally feminine roles such as nurturing and protecting those dear to her, audiences tend to disregard her strength because of how these roles are devalued.
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Feathers and Glass: How Swan’s heroines find themselves through dance
Swan, which ran in Margaret from 1976 until 1981, follows Hijiri Masumi, an average high school girl from rural Hokkaido, who through the course of the series becomes famous as a modern ballet dancer. One of her key relationships is her friendship and rivalry with Lillianna Maksimova, a Russian classical ballet prodigy. This relationship uplifts them both, as the series uses Lillianna as an avenue to explore just how harmful and restrictive gender roles and expectations can be.
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You Don’t Have to Kick Ass to Be Kickass: Shoujo fantasy and the value of the noncombatant hero
Over the years, the number of lady action heroes has slowly but significantly risen. And this is a good thing… for the most part. But the ability to enact violence shouldn’t be the only way we define our heroes, regardless of gender.
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The queer blood ties of Vampire Princess Miyu
Miyu is born a vampire, and her bite does not seem to turn her victims into other vampires. In Vampire Princess Miyu, blood bonds become not something that transfers a vampiric condition, but something that creates connection. While in some vampire stories it can also forge mythical bonds, the conventional vampire bite crucially also transfers a condition (vampirism). But here, the connections are not accompanied by transformation. Rather than giving you new traits, its only effect is to create a link between yourself and another person.
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Anime’s Glass Ceiling: what keeps women out of the director’s chair?
The popularity of women authors like Itagaki, Takeuchi, Takahashi, and Arakawa led to their work being adapted into similarly successful anime. But most of these anime, if not all of them, were directed by men.
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Rise of the Villainess: How the reborn bad girls of otome games are defying shoujo stereotypes
In the past few years, the villainess has seen something of a renaissance. Rather than being the subject of ridicule or comeuppance, she’s being celebrated, given the opportunity to come into her own as the subject of an emerging theme in an ever-expanding field of light novels, manga, and anime. Today I’d like to talk a little bit about these ojous: who they are, where they come from, and why in the 21st century their success demonstrates an alternate world where being smart, hard-working, and kind gets you far.
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My Fave is Problematic: Phantom Thief Jeanne
As Jeanne, Maron steals paintings possessed by demons trying to steal the beauty of human hearts, weaken God, and strengthen the Demon Lord. By doing so, Maron seals the demons away, restores the affected humans to normal, and leaves a new painting of an angel in its place. This premise intrigued me because the magical girl was a phantom thief, rather than the standard “magical warrior” or “witch.”
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World-Building a Queer Paradise in My Next Life as a Villainess
So, is the world of Villainess a queer utopia uniquely laid out so that Catarina’s love(s) can bloom? Or is the question of world- and story-building a little more complicated?
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Skip Beat!’s Harmful Healing: Forgiving abuse at the cost of self-worth
As Kyoko struggles to recover from abuse and trauma, she is encouraged to forgive everyone around her, put her own happiness last, and believe that love cures all. Skip Beat’s prioritization of these ideals over actual healing processes perpetuates unhealthy, even dangerous ideas about recovery.
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“A Man Who Can Experience His Feelings”: Fruits Basket, toxic masculinity, and mental health
Fruits Basket is a radical work regarding its treatment of mental health because it actively works to destigmatize mental illness, critiquing and dismantling ideas about toxic masculinity through its portrayal of mental health.
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Rage, Mentors, and Rebellions in Classic vs. Modern Sukeban Anime Girls
While old-school sukeban (“boss girls”) anime/manga characters come across as irrational in their anger and resentment toward society (until the very end of their respective series, at least), newer sukeban characters often are more level-headed, using their rebellious spirit to improve their circumstances.
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Coping with Trauma and the Burden of Leadership in Maid-sama!
Juggling respect and likability is a tightrope many women are forced to walk. This intricate dance of cultivating social and professional balance is what first drew me to Maid-sama!.
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Reclaiming the Witch Through Magical Girls
There comes a time in every girl’s life where she’s obsessed with one thing: the occult.
