It’s Asexual Awareness Week, which means that though I’d do it any time of the year, it’s the optimal time of the year to recommend and gather recommendations of media with asexual protagonists. Today I want to talk about two brilliant geeky YA novels with main characters that are not only relatable, complicated, and funny, but sit on a perhaps lesser-known place on the asexual spectrum: these are two characters who are confirmed as demisexual.
Demisexuality is when you only begin to feel sexually attracted to people once you form a strong emotional bond with them. The most common misconceptions about it tend to be that the demi in question is just “picky” and chooses to get to know people first, or that they’re no longer, or never really were, asexual at all once they find someone they like enough to be attracted to. As with the many grey areas along the ace spectrum, it can be a tricky thing to both explain to people and define for yourself, especially given how society so easily conflates romantic, aesthetic, and sexual attraction all together as one big amorphous thing when they’re really separate and very different feelings—and, as always, different for every individual person!
I know that I’m somewhere under the ace umbrella, but finding an exact word to define my unique, personal scenario has kind of felt like I’m a sleep-deprived detective staring at a conspiracy board trying to link evidence together with bits of string. While I’m still bumbling along trying to figure myself out, it was immensely rewarding and heartwarming to read these two books where characters (who are younger than me, mind you) get to not only find happiness in their ace identities and have fulfilling relationships, but get to be the stars of moving and engaging stories. Continue reading →
Have you ever wondered exactly what’s going on inside your friends’ heads? Of course you have. Have you ever wanted to take a surreal and frightening journey inside the physical manifestation of your friends’ thoughts, feelings, and worries? Maybe? No? Well, in these two series, you can!
Fiction provides us with a unique opportunity to see into the minds of others, in that we get to live out other people’s stories and lives and see the world through their point of view for a time. Fantasy and sci-fi elements that allow us to literally see into and interact with the minds of characters, such as the dream-diving in Paprika and Inception, take this a step further. Through literally venturing into a physical manifestation of another character’s mind, you can learn a lot about them that they may not show you on the surface, such as hidden insecurities and secret memories. And sure, as a writer you could get the same information across in a dream sequence that lets the audience see inside that character’s mind for a scene, but the act of physically entering someone else’s mental landscape is what I want to talk about today. It lets the other characters, rather than solely the audience, learn what’s going on in the subject character’s head, and does so in a way that also moves the plot forward and provides a physical adventure at the same time.
Puella Magi Madoka Magicaand Flip Flappers are two series that, via magic, give their characters the opportunity to explore their co-cast members’ inner worlds, sending them all down a proverbial rabbit hole into surreal, symbolism-heavy, and often frightening landscapes that teach them (and the audience) something about their peers that they couldn’t have known before. The two series use a lot of the same tools, artistically speaking, but the consequences and emotional outcome of their heroes’ journeys into each other’s mindscapes is very different in each case. Heavy spoilers for both shows beyond the jump!
The Garden of Words came out in 2013, and for four straight years my Tumblr dash has been scattered with gifs celebrating the beautiful scenery and animation in the film. But apart from how pretty it was, I didn’t actually know anything about the plot of this iconic movie, so when I saw it on AnimeLab, I decided to dive in and investigate. Sure enough, it’s an absolutely gorgeous film that should 100% be celebrated as an achievement in animation, atmosphere, and visual storytelling about the way human lives connect. It was kind of spoiled for me by an unexpected case of compulsory heterosexuality, but hey, you can’t have everything…
I don’t have to tell anyone reading this site that we’re living in a world saturated by superhero media. Between the hundreds of movies, TV shows, Netflix originals, video games, and of course comics, how does one stand out from the crowd? Especially when you’re one of many adapting/rebooting something as ridiculously overdone as Batman? Well, you do what Telltale Games does: you acknowledge that media saturation and the fact that your title character is a pop culture icon, and you decide to use that to do something different. You accept that your players will be bringing some knowledge of the superhero franchise—be it Batman or, more recently, Guardians of the Galaxy—you’re adapting to the table. And you use that knowledge as a foundation to play on audience expectations and take the opportunity to toy, fanfiction-style, with some “what if?” scenarios to create innovative and intriguing new takes on the familiar stories. And you do it all while exploring and giving agency to sidelined women characters, too!
Spoilers (mostly minor, but major ones are tagged) for both Batman: The Telltale Series and Guardians of the Galaxy: The Telltale Series beyond the jump! Continue reading →
I’ll admit it, I started watching Princess Principal because it just looked fun. Young women kicking ass as spies in a steampunk fantasy version of turn-of-the-century London, set to a jazzy soundtrack and wrapped up in science-magic? Yes, please. I’ve been pleasantly surprised to discover that this show that I picked up solely for its geeky Cool Factor is… actually really damned good, delivering consistently sharp writing, interesting and layered characters, and some wonderfully efficient and intriguing magical worldbuilding that makes fantastic use of that old writing adage “show, don’t tell” that paints a vivid picture of its fantasy world from its very first scene.
Because it did such a good job laying the groundwork and piquing this viewer’s interest, let’s look just at the show’s first episode, and the small but important details the premiere gives us (and how) that let us build a picture of the world… without leaning too heavily on narration, pausing or cutting into the action to explain what’s going on, or having an audience point-of-view character that others teach things to.
I think I’ll tryyyyy defyyying graviityyyy. (via aldi404)
It’s a universal fact that everyone is at least a little bit embarrassed by what they did when they were thirteen. Was it a misguided and poetic emo phase? An overzealous leap into fandom, including indulgent fanfic or fanart? An all-consuming desire to be seen as mature in your tastes that ended up just making you look pretentious? Whatever it is, despite how much this passion consumed you at the time, you’d be happy if no one ever brought it up ever again—that’s how much it makes you cringe.
There’s a Japanese word for this: chunibyo, loosely translating to “eighth-grader syndrome”, the stage of life where a sense of self-importance and newfound independence combines with passion, imagination, and a desire to be seen as special, whether that manifests as a pretentious geek phase or believing you have magic powers. It’s this phenomenon that is the core of Love, Chunibyo, and Other Delusions—a show that begins as a wacky comedy about high school embarrassment and ends up punching you (or at least, this reviewer) in the gut with a poignant story about grief and growing up.
Recently, my fourteen-year-old self knocked on my window in the dead of night and asked me to reconsider demon butlers. Or, rather, I went to watch Black Butler: Book of the Atlantic (a movie adaptation of one of the later arcs of the manga) in the cinema with a friend, where we were both promptly reminded why we’d loved this series so much as teenagers. The Black Butler manga is more than ten years old and still going strong, and the movie reeled me back into this world of supernatural action and Victorian Era finery with enough force and finesse that I was compelled to revisit the first few volumes of the manga—the “Jack the Ripper” arc, the storyline I remember being my favorite and starring my favorite pair of villains—and dive back into this story to see if it held up. Is it still good? Certainly. Is it also riddled with problems I’m much more wary of and attuned to now that I’m older and wiser? Absolutely. Spoilers for the arc ahead!
(photo by me: the inside cover of my faithful, beaten up copy of Volume 2)
I’ve been hearing whispers about a new Life is Strange project for a while, though I couldn’t figure out how the developers would do it. A sequel was out of the question since the ending of the game is set up deliberately to take the story in two completely different directions, so making a direct Life is Strange 2 would surely be impossible unless they wanted to make two completely different games. Lo and behold, it turns out the new Life is Strange game is a prequel, focusing not on Max and her time powers but on Chloe a few years before the events of the original story. This is, all things considered, the sensible choice, though I’m intrigued and cautiously optimistic about how it will turn out.
My friend and I came out of Guardians of the Galaxy Vol. 2 convinced that the Infinity Wars movies, and the big Avengers/Guardians crossover therein, were mostly going to consist of Tony Stark and Peter Quill trying to out-Daddy-Issue each other. As well as both having facial hair and a penchant for roguish one-liners, the two heroes have a few things in common, most notably their parental situation: like Tony, Peter Quill has a complicated and at times antagonistic relationship with his father that forms the emotional core of a whole movie, and a sense of wistful mourning for his mother, who was sweet, kind, and only shows up in a few scenes. She’s also dead due to circumstances that were in no way her fault, so they can bond over that as well. At this point, maybe Thor can chime in too, perhaps initiating a group hug, since he also has a complicated relationship with his main-character dad and grieves over his good and nurturing dead mum. Jeez, is Infinity Wars just going to be one big session of father-related angst and mother-related mourning?
Fridge a kind mother and elevate a father to main character status once, Marvel, and that’s shame on you. Fridge a kind mother and elevate a father twice, still shame on you. Do this three times for three different superheroes and it’s officially a pattern. What exactly is going on here, and why does it annoy me so much?
You first meet the protagonist of Night in the Woods, twenty-year-old Mae Borowski, when she arrives at her hometown’s bus station after dropping out of college. She remarks that the bus station is probably the newest and fanciest building in the town of Possum Springs, all the better to give people coming through the best first impression possible. However, we soon see that the bus station, with its shiny floors and glorious sunny mural advertising prosperous life in Possum Springs, is just a façade, and as soon as Mae arrives in the town proper, we see that it’s crumbling inside and out.
As Mae explores her childhood home, the game’s use of color, landscape design, character dialogue and atmospheric music all help to build a rich, vivid, sensory picture of this once-great but slowly dying coal town, injecting so much personality that the setting almost feels like a character. Which not only makes it a fantastic backdrop for the unfolding story, but a neat metaphor for what’s going on with Mae herself. And… also a little bit of something deeper and darker.