Greetings and salutations! Feel free to just call me Rin—we’re all friends here, or nemeses who just haven’t gotten to know each other well enough. I’m a video game lover from the womb to the tomb, and Bioware enthusiast until the day they stop making games with amazing characters that I cry over. And while I don’t partake as often as I used to, don’t be surprised to find me poking around an anime or manga every once in a while either. A personal interest for me is characterization in media and how women in particular have been portrayed, are being portrayed, and will be portrayed in the future. I’m not going to mince words about my opinion either.
Here on this blog, we’ve unintentionally managed to cover just about every animation nominee for the 2017 Academy Awards in one way or another. Not that I particularly care about the Academy or their opinion, but after giving some page space to Kubo and the Two Strings, Zootopia, and Moana, it felt kind of strange to just ignore the other two films and my artsy ass can never resist delving into productions by lesser known studios. So I set out to tackle the first of these two films: My Life as a Zucchini (or Ma Vie de Courgette in the original French). Distributed by Gebeka Films and premiering at the 2016 film festival in Cannes, the quirky stop-motion film tackles a surprisingly dark subject, and does it well. However, as with most things, this doesn’t mean it was devoid of problems.
During the middle of last week, Disney finally released their U.S. trailer for their own theatrical jaunt into the Day of the Dead mythos, Coco. I, for my part, completely forgot this movie was even going to be a thing, and still kind of wish that it wasn’t. The bad blood Disney created during the film’s production still lingers, and with a seemingly superior film, The Book of Life, having already been released, many still question why we even need Disney’s spin on Mexican culture. Does Coco seem worth giving the time of day? For the time being, I’m going to give it a somewhat wary “yes.”
Whenever I get pulled back once more into that YouTube whirlpool—which is basically my life right now since winter decided it wanted to majorly shit on us one last time—I tend to go for one of two things: conspiracy/horror videos and review shows. Ever since Channel Awesome became exceedingly less “awesome”–there were rumors of mismanagement and general ego inflation, and I just didn’t like the people who decided to stay on the site–finding reviews for things I actually cared about was a bit of a crapshoot. However, thanks to an opportune link in the sidebar of a completely unrelated YouTube video, I managed to find myself back on Lindsay Ellis’s channel (she was previously “the Nostalgia Chick” when she was a part of Channel Awesome) and was subsequently led to Dan Olson’s media review channel, Folding Ideas. Low key and introspective, Olson presents his analysis with a good mix of easy to understand technical terms, a dash of social commentary, and sometimes even a bit of humor. And hey, anyone who doesn’t immediately start their review of No Man’s Sky with “aaaah!! It was the worst game everrrrrrr” is okay in my book.
I don’t have to tell you, dear readers, that Jordan Peele’s Get Out is good; all other film review outlets have done that for me. But allow me to say that if you haven’t seen this film yet, do so as soon as you can. If you’re worried that this film is a Boo! Haunted House sort of horror, then let me soothe your fears. Get Out is absolutely a horror film, but it’s horrific more in its realism than in any sense of gore or otherworldly fiends (though there is gore to be had). More than horror, though, the film is clever in its message. Like Zootopia, Get Out relays the message that racism continues to be damaging in its persistence in modern-day culture, but unlike the Disney flick, Get Out doesn’t lose its message due to a lack of direction. Instead, Get Out focuses on exposing the subconscious racism that lingers in a portion of its audience. Get Out sets itself apart by subtly—and then not-so-subtly—showing that white people who consider themselves progressive can be just as racist as the blatantly racist, and that this liberal-coded racism can perhaps be some of the most damaging racism of all.
As far as fairy tales and legends go, the Arthurian legends aren’t what I’d call my favorite. Knights are great, sure, and the magic is really cool, but as a whole the legends never really grabbed me. (Maybe it’s because it felt like I couldn’t go a year in school without a unit on something medieval.) So then, what drew me to this trailer in particular? I don’t know: maybe I have a bit of Stockholm with these tales? …No, the reason is actually very simple. Despite all the distaste I’ve cultivated for Game of Thrones, I love Michael McElhatton (who plays Roose Bolton), so the moment he showed up in the trailer I knew that my chances of seeing this movie at some point had just risen by an almost unfathomable amount. In the end, though, this isn’t enough to keep King Arthur: Legend of the Sword from looking like if someone crossed A Knight’s Tale with a kegstand.
In my review of Izetta: The Last Witch, I ended the post wishing that there would be some anime series that focused on a lesbian relationship that was as overt as the gay relationship in Yuri!!! On Ice. When I started Flip Flappers, I was not expecting it to be that anime. In fact, I wasn’t expecting much from Flip Flappers at all. However, despite my apprehensions, the thirteen-episode semi-surrealist series surpassed all my expectations, and if you haven’t watched it for yourself, I highly recommend that you do. Avoiding spoilers, if you’re looking for a cute, vibrant anime series with a bit of mystery and a lot of relationship exploration, Flip Flappers is definitely for you. Still, I have a few issues with the series that keep it from being perfect, and unfortunately some of these issues are directly related to the main lesbian relationship.
As I was going through some CDs I’d made back in my high school days, I was forced to face something: I’d really liked Inuyasha. Like, a lot. So much that I had two CDs filled with the title and ending tracks (yes, I still know the words to Fukai Mori by heart) and several versions of Inuyasha’s Lullaby. So I was feeling a little nostalgic for the series, and seeking out Inuyasha fic this week really wasn’t any surprise to me. What was a surprise, however, was how few F/F fics there were for the series. I’m pretty sure that the Kagome/Thorin Oakenshield ship had more fics than any F/F ship, canon characters or not. Upon giving up my original search—sorry, Femslash February!—I did manage to find a really wonderful ficlet that further explored my favorite female character, Sango, after the events of the series.
Throughout the first fifty-some volumes of Inuyasha, the demon huntress Sango was always portrayed as a strong woman who had lost much, but didn’t allow her losses to consume her. However, the ending of the manga always rubbed me the wrong way. Though Sango was driven by wanting to put an end to the creature who had destroyed her village and family, and she did help achieve this, I never got the impression that just because she had achieved her goal, she would put down her metaphorical torch indefinitely. Yet the series’ end had her settling down with her love interest, Miroku, and popping out babies like it was no one’s business. There’s nothing inherently wrong with this, but it seemed like too much of a shift in character and agency and too much of a rushed out “and they lived happily ever after” epilogue. I didn’t trudge through so many volumes for this! While today’s fic doesn’t change the outcome, what it does offer is a closer look at Sango’s mindset and character development as she enters this new part of her life—something the series should have done in the first place.