#... makes you a target for harassment on the basis of being not feminine enough in many rl circles

[devilfruitdyke]

you guys do know that theres more to being gnc than clothes right

[eyesaremosaics]

Feminist film recommendations?

Hmm interesting question anon. I will list some of my personal favorites (in no particular order) hopefully you enjoy them.

1. Mad Max: Fury Road (2015)

I felt like there was fire in my veins walking out of the cinema. Not only is Charlize Theron’s Furiosa a total badass, but the best thing is that it’s not just her. To have such a range of women portrayed equally and beautifully was so uplifting. Women caring for each other, lifting each other and fighting hard for what is right. We need more of that, both in Hollywood and in life.

2. The color purple (1985)

Read this book in high school, about a sisterhood of women, all standing together against the racism and sexism that they face and somehow coming out on top. It’s an inspiring story of women coming together in the face of adversity.

3. Gone With the Wind (1939)

Scarlett was the most coveted female film role of all time. Despite the films obvious flaws as a result of the time period in which it was made, overall this is a feminist parable. Scarlett is above all else–a survivor. She never gives up, digs her heels in, rolls up her sleeves and does it. She faces adversity with admirable courage. Despite the fact that she is a terribly flawed human being, you can relate to her. She sets her mind to something and she does it, whether it’s dragging her family out of poverty or eating as much BBQ food as she damn well likes. Her flaws make her human, which adds richness to the overall story. Scarlett has inspired me to persevere at the darkest of times. When all hope seems lost, “tomorrow is another day.”

4. Erin Brockovich (2000)

I love Julia Roberts, and this movie stands out as one of her best in my opinion. A single mother, fallen on hard times, but somehow holding everything together. Making the best of a bad situation, an eternal realist. Portraying a woman as much more than she appears. She uncovers some dark secrets (chemicals leaked into the sewer systems) which led an entire community to develop terminal illness. She works tirelessly to expose those responsible and find justice for those who can’t help themselves. My favorite line is when this bitchy secretary says: “maybe we got off on the wrong foot here.”“Yeah lady because that’s all you got, two wrong feet and fucking ugly shoes.” Bahahaha

5. Suffragette (2015)

Tells the story of the women’s right movement at the turn of the last century. It taught me to stand up for myself, and for women everywhere. Very proud to have that as a part of our history. Incredibly grateful to all the women who fought tirelessly, endured persecution, humiliation, incarceration to ensure my right to vote.

6. Pocahontas (1995)

Pocahontas is VERY loosely based on the true story. Disney took a lot of liberties here which mask the horror of early American history and its impact on the native Americans. HOWEVER, what I like about her characterization in this film… Is that she was strong, rebellious, bold, adventurous, and wise. She went wherever the wind took her, a true free spirit. She was graceful, and kind in ways other Disney princesses were not. The purity of her heart and the message she had to bring, stopped a war. She is a warrior, but not one that fights with weapons, she fights with love. In the end she chose herself and her duty to her people over a man. I wanted to be just like her when I was a little girl watching this in the theater, and she still inspires me today, nearly 20 years later.

7. Fried green tomatoes (1992)

I watched this film when I was in high school, with low expectations and was very surprised to discover how moved I was. A story of two women, finding empowerment within oneself. The main character listens to a story from an elderly woman and learns how to love herself. I believe it’s important to encourage other women and learn from each other.

8. Obvious child (2014)

Jenny Slate’s character has an abortion after a one night stand with a guy she actually really likes. However, she knows she isn’t prepared for it and chooses to terminate the pregnancy. There’s great friendship and family in the film and it really helps to destigmatise abortion.

9. Wild (2014)

The book is arguably better, but the film is worth watching. A woman goes out and hikes one of the worlds longest trails, on a mission to find herself and to prove that she can finish what she starts. Finding herself on the elements, and getting clarity. Very freeing and inspiring.

10. Kill Bill 1 & 2 (2003)

Uma Thurman is a boss, and everyone knows it. She is so vice tally connected to her inner life as an actress, always enjoy watching her. These films are what she is most known for nowadays, and for good reason. It’s a story of revenge. A woman is almost murdered by the man she loved, pregnant with his child. Wakes up in a hospital, having been in a coma for years. Suffered all kinds of indignities, she willed herself to walk again. Dragged herself by her fingernails until she could rise up, strengthen her skills as a warrior, and set out to settle old scores. She takes each person down one by one, yet you still find the humanity behind each character and the reasons why they did what they did and became who they were. It’s about survival, perseverance, and ultimately in the end–forgiveness. Leaving the past behind, to start over again.

11. She’s beautiful when she’s angry (2014)

It’s a documentary about the feminist movement in the 1960s and 1970s, with interviews with many of the women who were part of it. Sure, it makes you angry to see injustice, but it’s also highly uplifting to see what these women did, and how it paved the way for equality forty to fifty years later. These women were, and still are, amazing figures who haven’t stopped fighting.

12. How to make an American quilt

A group of older women reflecting on their lives around a quilting table. Each of their stories are so inspiring, and the way they all come together to heal from their traumas is very powerful. Winona Ryder’s character (Finn) is experiencing a late twenties crisis of identity, and is unsure about wether or not to get married to her long term fiancée. Listening to the lives of all these women helps bring perspective and clarity to her. Life is never black and white, life is like a quilt. You build as you go along.

13. Frida

This Selma Hayek-fronted, Academy Award-winning biopic of the feminist icon portrays the artist in a whole new light. It’s amazing to watch the story of any incredible historic figure succeed against the odds, but double if said figure is also a woman and shot so beautifully by Julie Taymor.

14. The hours (2002)

This film follows three women as their lives weave in and around the narrative of Virginia Woolf’s Mrs. Dalloway. The multi-generational movie shows how people are connected through time by similar angst, anxieties, and personal struggles.

15. The Stepford wives (1975)

What happens to women when things are too perfect? The answer might make their husbands happy, but the truth behind what is happening in this ideal-seeming suburb is nothing short of horrifying.

16. Miss Representation (2011)

A documentary on the way women are treated and portrayed in the media, this film broke open the truth behind the images women and young girls are force fed on a daily basis. Start your watching here, if you can, and then continue on to these other films to see how much has and hasn’t changed.

17. North Country (2005)

A fictionalized account of the first majorly successful sexual harassment case in the United States, this film follows the female miners who fought for their right to work without suffering the abuse their male coworkers heaped on them because of their gender.

18. The Headless Woman, Lucrecia Martel

New Argentine Cinema figure Lucrecia Martel draws connections to the country’s dark political/class struggles, transposing its “disappeared” from the mid-to-late ‘70s into a sedate, challenging story about a woman’s fractured state following a fatal accident and its ensuing cover-up.

18. Princess Mononoke, Hayao Miyazaki

A thread of feminism weaves itself through the work of Hayao Miyazaki. Perhaps his most mature film, Princess Mononoke features a memorable and tenacious heroine, San, who subverts feminine stereotypes and is written without the fanciful quirks commonly found in animation. She is serious and single minded. Grounded to the earth, living in the moment. She is totally present, and pure. Even her rage comes from a pure unadulterated place. Wolf-goddess character Moro deserves attention as an unlikely mother figure that is fierce and, well, totally pissed off (you would be too if people were destroying your home), but also wise and nurturing. Fighting for what’s right, against impossible odds. Being humbled by nature, the ultimate female reclamation. So many layers in this film.

19. Dogfight, Nancy Savoca

A rare film set during the Vietnam War and told from the perspective of a woman, Nancy Savoca’s Dogfight reveals a different kind of cruelty people inflict upon one another, off the battlefield — in this case, a group of misogynistic Marines using women in a contest of looks. Lili Taylor’s peace-loving Rose, who becomes one of the targets in this game, soon realizes she’s being courted by River Phoenix’s Eddie for the wrong reasons — though his guilt and seemingly genuine interest in Rose is apparent. Rose confronts Eddie about the game, defending the honor of all women involved, which winds up bringing them closer together.

20. Alien, Ridley Scott

She’s not a sidekick, arm candy, or a damsel to be rescued. She isn’t a fantasy version of a woman. The character is strong enough to survive multiple screenwriters. She was lucky enough to be played by Sigourney Weaver,” said Science Fiction and Fantasy Writers of America President John Scalzi of Ellen Ripley from 1979’s Alien. Defying genre cinema’s gender clichés (she is gender neutral, really) as the clear-minded, intelligent, and capable officer of the ship Nostromo, Ripley is more resourceful than the men who employ her and steps in to take over when all hell breaks loose.

21. Orlando, Sally Potter

Our own Judy Berman recently highlighted Tilda Swinton’s performance in Potter’s adaptation of Virginia Woolf’s satirical text that explores gender and artistic subjectivity, a project that was ambitious in both form and content:

“Although it’s far more straightforward a narrative than most of her work, Virginia Woolf’s Orlando still presents one major challenge for the big screen: its protagonist is a nobleman in Elizabethan England who lives a life that spans centuries, and is suddenly transformed into a woman midway through it. Tilda Swinton may be the only (allegedly) human actor equipped to play the role of such a regal, mysterious androgyne, and her performance in this adaptation — also a breakthrough for director Sally Potter — became her signature.”

22. The Umbrellas of Cherbourg, Jacques Demy

Celebrated for its vivid milieu, Jacques Demy’s sensitively characterized film is a superior look at an independent woman (Catherine Deneuve) in a romantic narrative who makes difficult choices about marriage, children, and survival that sometimes leave her alone — but she is never lonely because of that.

23. Daisies, Vera Chytilová

The young women in Vera Chytilová’s Czech New Wave farce “construct fluid identities for themselves, keenly aware of their sexuality, toying with the men who pursue them. It’s an exhilarating, surreal, anarchic experiment, framed by the turbulent 1960s.

24. Daughters of the Dust, Julie Dash

Julie Dash directed the first feature film by an African-American woman distributed theatrically in the United States in 1991 — a stunningly captured look at three generations of Gullah women off the coast of South Carolina and Georgia in 1902.

25. Meshes of the Afternoon, Maya Deren

The bar for avant-garde female filmmaking, born from personal experiences and anxieties. Maya Deren’s 1943 experimental classic builds its interior female perspective and constructs of selfhood through dreamlike imagery.

26. The Passion of Joan of Arc, Carl Theodor Dreyer

Critic Jonathan Rosenbaum on Carl Theodor Dreyer’s crowning achievement, released in 1928, that still painfully echoes contemporary cases of female oppression — the film’s silent context taking on an unintentional resonance:

“Carl Dreyer’s last silent, the greatest of all Joan of Arc films… . Joan is played by stage actress Renee Falconetti, and though hers is one of the key performances in the history of movies, she never made another film. (Antonin Artaud also appears in a memorable cameo.) Dreyer’s radical approach to constructing space and the slow intensity of his mobile style make this ‘difficult’ in the sense that, like all the greatest films, it reinvents the world from the ground up. It’s also painful in a way that all Dreyer’s tragedies are, but it will continue to live long after most commercial movies have vanished from memory.”

[bornpurple]

So I realize that Rachel Dolezal is this really dated topic but my friend recently posted a story regarding cultural appropriation. And in our discussion on it I referenced the difference (from a black perspective) in the participation of Eminem vs Rachel Dolezal in "black culture" and community and how one came off as pretty acceptable and okay by black people and another came off as offensive. And I stated that intent + owning up to your [white] privilege is a big factor in what's okay vs not okay. Eminem for instance knows and states that he's taking a part in and profiting off of black culture/a black art form (one can reference some of his early lyrics) while also knowing that he's specifically non-black. Rachel Dolezal on the other hand is offensive because she does NOT acknowledge nor recognize that as a fact.

My friend then asked a very good follow up question (since he's cis and Desi/Singaporean and I'm trans and black) what the difference is between being trans racial (in the way that Rachel Dolezal states it, not the use of the term for trans racial adoptees) vs being transgender. After a bit of searching I realized that I couldn't find any good articles on it so I thought I'd just dissect the nuances myself. And after a bit of thinking I thought I'd copy/paste it here as well.

The initial question: “ Zade, great points, but I have to ask..in this world where we are having more and more conversations about the gender people identify with, are transracial people to be taken less seriously about the race they identify with?”

My response:

I wrote a long response but then my phone ate it so let me see if I can rehash. In summary I was saying that though race and gender are both a mixture of socially constructed concepts and biological markers they're also two separate things. Speaking of gender, it is a socially constructed class that is formed by both genetic and biological influences (nature) and experiences in the world (nurture). Though gender is socially constructed it seems to have some biological influence to it. Children often get a sense of their gender identity at around two or three. This is the age where they separate themselves into different play groups based off of who they view as similar to them and who they view as other, often prefer a certain set of toys, and usually model off of one parent or another. In cis people this aligns in the way you would expect it to, so for a cis boy it could look like him declaring that girls have cooties, only preferring to play with other boys, preferring trucks and trains over dolls, and wanting to wear his father's ties and hats. For trans people it could appear in a number of ways, such as not really understanding why their peers are separating themselves into alternate groups or mixing up preferences at different times if nonbinary, or preferring things seen as opposite to their assigned gender if binary trans (and probably getting shamed for it as in the case of young trans women which is why so many go through a hypermasculine period before coming out to overcompensate and remain safe and hidden). Though not every trans person experiences a strong gender identity in their youth and many only develop words for their internal feelings of dissonance later on in life or after several experiences have made it clear about the way they prefer to live, it is often thought that there is some sort of a genetic basis that ties into the formation of their identity in the same way there is for cis people even if it doesn't show up until later on. There's also the fact that majority of gender non-conforming kids actually grow up to be cis rather than trans, which is probably explained by the fact that existing as openly trans and transitioning in society doesn't have many benefits. It leads to unemployment, harassment, discrimination, and being beaten, raped or killed (especially for trans women of color). It's similar to being gay in society but with further chances of being ostracized. The majority of trans people come into their trans identity and their transition after many instances of being alienated, shunned from their families/friends/communities, recovering from suicide attempts, and constantly being belittled and disrespected along the way. Being gay is much more accepted now. Most people just see gay people as the same as them outside of their sexual preference. Trans people are still seen as aberrant, deviant and strange or criminal even within the lgbt community. There is no benefit to being trans in the eyes of society and despite how much media attention it's gotten now, the actual reality of being trans in the world has not yet shifted. In order for the identity to be held it follows that it would have a stronger genetic marker than a social one because if it were mostly socially based there would be no logical reason to exist in a trans space rather than a gender non-conforming cis space. It would be a lot easier and the risk of being a target of serious abuse, rape and death is lessened. Race on the other hand exists a bit different. Race is made up of both phenotypical differences (common features, skin color, common ancestry) and social experiences (shared history, common experiences of bigotry, communal "in" vs "out" group). There are some black people who do not feel a strong connection to the black community, usually due to ostracization within it (like multiracial people, black people with albinism, black geeks and queer people who are not seen as "black enough" due to not conforming to cultural norms and stereotypes). And there are of course several non-black people who feel a strong connection to the black community due to similar experiences or similar interests or what have you. The difference is that race was a socially constructed category devised to isolate and subjugate us, which was then flipped on its head and turned into a category to build common community and strength to fight back against oppressors. (When you think WHY black identity is brought up in society by black folk it's usually used in a way to uplift black people and bring them together against some sort of injustice being leveled against them. Think Black Lives Matter and the Civil Rights Movement during the era where black people re-embraced afros and were re-exploring their historical African roots. Prior to that black people were forced to assimilate into white culture, straighten their hair, lighten their appearance in order to achieve the same boons. Now black people were embracing the very characteristics that were held in detest by the social class in power and fighting for equal rights at the same time. Similar to the Black Lives Matter movement. Black identity is embraced not only as phenotype and shared experiences but as a political weapon to combat societal injustice. If one hasn't experienced those things then how can they call themselves black? How can they be a part of the NAACP as a BLACK person and claim to have the same experiences and history as the other black people in the room? If Dolezal recognized her whiteness while also being frank about the fact that she identified with the black community and its struggle this would be a non-issue. But she treats blackness like a costume rather than an actual identity that has been formed based off of societal injustice done to people of our heritage. You could argue what TERFs do and say that trans women for instance haven't experienced what it's like to be a woman in the world and thus they can't call themselves a marginalized class. However these TERFs are ignoring the reality of what it is to be trans. The transfeminine experience is entirely different from the cis male experience. Even in a feminine cis male he could theoretically find community and shelter within certain groups of the cis male community who could bolster and affirm his identity (think metrosexuals and femme gay men). Transfeminine people are even ostracized from that and shamed as a part of those communities for being aberrant and weird. They are alone even within those communities because their sense of self is not validated as a man not on the same axis. Being a woman posits a very different experience than being a man, even a feminine one. There are many trans women who have written on the subject of how the socialization is different. I'm not exactly an expert on it since I haven't experienced it. But there are many articles on the internet. Basically the issue is trans women have not received male privilege during any time of their being misgendered as male. Thus while it is not the same experience as being a cis woman in society, it IS the experience of being a woman in society albeit a trans one, and that is what makes it very different from being a man.

Dolezal's position in society is as a white woman. She has not experienced the same issues that black people have simply by virtue of existing as black in America. She has not been shamed for identifying with or participating in black culturally rooted things. In fact white people are usually hailed and praised for participating in things outside of their culture. They are seen as creative and unique vs black people for instance who participate in those things and who are seen as "too ghetto" or "too militant" or "unprofessional". In the case of a trans woman there are no boons for her to participate in the social class of women. In the case of a white person participating in the social class of being black? They get all the affirmation, love, respect and attention while black people still get nothing. It's very strange. Also gender (aka gender identity) is a social construct mostly based off of gender norms (which are a social construct and change in accordance to their culture). Sex (aka genitalia, reproductive organs, chromosomes, hormonal makeup) is a biological reality but it is far more complicated than it's usually stated (it's not binary; intersex conditions and intersex people exist). Gender is often treated as the same as sex but actually it is only a social category based off of sex but entirely separate. There is some biological influence to what social category of gender you will or will not identity with but everything else is rather superfluous and can be put on or taken off at will. There is discrimination against people based off of gender and male privilege does exist but cis people by far have tons of privilege in comparison to trans people. And thus the scale goes more like cis men>cis women>trans men>trans women and nonbinary folk. (Some of these categories are intersectional and fluid though; for instance a stealth trans man might achieve equal privilege to a cis man until his trans status is announced) Trans women do not jump from cis male to cis female status nor are they trying to attain it. They jump from closeted transfeminine to out transfeminine status with all the danger that does entail. And even in closeted transfeminine status they don't have full access to the same privilege that men do by any measure due to ostracization and attacks. Race is a social category based off of phenotype primarily but shared discriminatory experiences secondarily. And in this way it is separate from the class of men or women. The class of women is expansive enough to include those experiences of both cis women AND trans women because they are both not seen as male and not treated as male in society and share the discrimination of being non-male and feminine-gendered in society. The class of race (at least in America) can ONLY be concluded based on existence of class of "other" with "other" being defined as having access to privilege that the initial racial class has been denied AND not being subject to the same bigotry that the initial racial class is often affronted with. Outliers include people who "pass" as the oppressor class (aka pass as white), people with albinism and multiracial people whom may not be usually read as black but as soon as their black status is noted are immediately relegated to the class of substandard racial status and treated accordingly. And thus due to common ancestry and experience they too have full access to the category of "black". A transracial white woman does not have this same hold on identity due to lack of commonality in experience/bigotry and lack of denial of privilege. With Dolezal she faces the opposite effect. Though she might pass as black and be accepted into the community due to phenotype, once it is found out that she is really white and has white ancestry, she will once again be relegated to the white class and be given privilege once more and affirmation and acceptance by society at large. To compare this with trans women. When trans women are found out to be non-cis/assigned male-at-birth they are NOT given cis male privilege and affirmed or accepted by society at large. They are taken down a notch in status yet again and treated as inferior and lacking humanity. Often times if a trans woman has not come out to her partner yet and her trans identity is exposed, her (statistically in these cases, usually cis male partner) will beat, rape or kill her simply by virtue of being trans (male-assigned-at-birth rather than female-assigned-at-birth). If she is in a circle/community of cis women and her history is exposed, she is also not relegated back up to cis-male privilege and status. She is seen as inferior and aberrant and as a threat and shunned from the community or treated as criminal. She does not have a safe circle where she can obtain male privilege again and be affirmed and accepted for her decisions and internal identity (as in the case of femme gay men or straight metrosexuals). Her status is forever inferior. Does this better denote why these classes are different? They're both defined slightly differently with different emphasis on certain aspects of the experience and they’re not equal in respect to how one is perceived when one's "true history" is exposed in contrast to their identity. There's also some sort of genetic basis for gender identity where there is none for racial identity [though there is the basis of phenotype] and racial identity is instead formed based off of common experiences with bigotry and injustice.

[recentanimenews]

The Wonderful World of Fantasy: Uncovering The Ancient Magus Bride and Diana Wynne Jones (Part 2)

Welcome back to the Wonderful Worlds of Fantasy! In Part One, we talked about how Diana Wynne Jones and The Ancient Magus’ Bride mangaka Kore Yamazaki are similar in the way they construct their fantasies and tie together the power of magic with themes of adolescence. Today, we’ll be discussing about how these two fantastic authors make their female protagonists work, and whether their works are low or high fantasy!

Agency, Youth, and the Female Protagonist

One of the most immediate similarities between many of Jones' works and The Ancient Magus’ Bride is how they both feature a young protagonist. For fantasy stories, this is not an uncommon element, as it’s necessary to create a stand-in character to let readers empathize with their experiences and conditions. This holds true especially in stories aimed at younger audiences. In the case of Magus’ Bride, the main protagonist is a quiet girl, Chise, introverted due to circumstances and just starting to learn more about herself and the world around her. Emotionally stunted and harassed by unnerving monsters and humans on a regular basis, she's a perfect choice for a coming of age story.

Jones' most notable work, Howl's Moving Castle, features a similar young female protagonist. Early on in the book, Sophie Hatter is cursed with appearing as an old woman after angering a witch. Lacking in self confidence and always looking down on herself, Sophie starts out as an anxious character. But as she moves on in her journey and regains confidence in herself, the magic begins to wane and Sophie appears younger and younger. By the end of the story, she's able to break the curse and regain her natural appearance. Katherine from Dogsbody is also similar, in that she has no self confidence and only gains the courage and inner strength through her journey with Sirius to overcome the bullying in her household and properly endure the grief that comes with parting with people you love. Chise falls more in line with the characters of Dogsbody – like Katherine, she too has suffered an intense dose of trauma and loneliness, to the point where she is willing to give up her own agency because she no longer has any desire to live. Her journey with Elias – of coming to terms not only with Elias' almost non-existent sense of humanity, but also her own self worth and abilities – is the underlying power behind The Ancient Magus’ Bride and its tight connection with the audience.

Why a girl like Chise though?

“When I write a book, it seems useful to extend the group to include both sexes, so that both girls and boys can enjoy it, but I do not find I can completely ignore the one-sex nature of the games in the wood. Oddly enough, this means that if I want a neutral character, not particularly girlish or boyish, I would have to use a boy. A neutral girl would strike most girl readers as a tomboy. Otherwise, it is obvious that all other characters in a fantasy ought to be very real and clear and individual, and to interact profoundly – real, colorful people, behaving as people do.” - Diana Wynne Jones, The Children in the Wood

“The Ancient Magus' Bride started out targeting the female audience more, but it has readers of all age groups and all genders.” - Kore Yamazaki, “Meet the Woman Behind Ancient Magus Bride”

Jones consistently balances the portrayal of her protagonists across her works. Some feature girls, some feature boys, but nearly all of them are young in age and at heart. Both her and Yamazaki are careful to portray characters that are a gateway into the worlds they create, but are not restrictive based on gender. Chise is a girl, but her traits and characteristics are not defined as feminine or masculine – rather, they are representative of the experiences she's faced and the result of who she is. She personally reminds me most of Polly Whittacker from Jones’ Fire and Hemlock: stubborn yet simple, and always fighting against the constant impulse to give in to self-destructive emotions as she steps closer toward acceptance and loving herself.

“I do find, myself, that the Hero, the protagonist, is the story. This is not to say that the other people in it are of no importance. Before I can write about anyone, I have to consider them as my close personal friends, even the Baddies.” - Diana Wynne Jones, Heroes

Is The Ancient Magus' Bride High Fantasy or Low Fantasy?

High fantasy is often defined as a subgenre of fantasy that contains epic elements. Some examples of this would be J.R.R Tolkien’s The Lord of the Rings, George R. R. Martin’s A Song of Fire and Ice, or Beowulf. It includes high stakes, grand levels of political warfare, and voyaging through many landscapes, usually due to a prophecy or quest the main character has to complete. While Diana Wynne Jones studied high fantasy extensively, most of her works are what we consider to be low fantasy – where fantasy is a component of reality and not reality itself. Jones found that low fantasy better served the kind of themes and worlds she was trying to design: accessible landscapes that didn’t require intense exposition.

Yamazaki seems to do the same in The Ancient Magus’ Bride, in a subgenre known as urban fantasy. The series takes place in the modern world and in an international setting; Chise is originally from Japan, but her adventures with Elias take her as far as places like England and Iceland. In a low fantasy, it’s easier for Yamazaki to immerse us in recognizable settings, twisted or manipulated by wondrous elements beyond our imagination. But she also makes mundane the fabulous, and in doing so, the magic of the series becomes a background for the powerful and accessible decisions that drive many of the forces in the story.

Why is this so important, though? How does this create a different experience from that of Harry Potter facing dragons or evil wizards? The main difference is challenging fictional conventions. By playing upon our standard definitions of what we consider normal, both Yamazaki and Jones recontextualize “normalcy” itself. Take for example, the comfort of a home, or the warmth of a loved one. In a normal world, these are things we take for granted, but both creators twist our expectations of the standard and turn them into places of unfamiliarity and horror. What turns out to be a helping hand of a doctor turns out to be a horrible experiment gone wrong, manipulating kindness and love into something far more insidious. In Howl’s Moving Castle, what is originally presented as a whimsical castle turns out to be a far more complicated and powerful setting that hides dark secrets.

This ties in with the biggest element of low fantasy: metaphor. In Jones’ and Yamazaki’s works, the main characters are continuously introduced to the wonders of fantasy, only for them to contextualize it within their knowledge of mundanity. By preserving both sides, the creators open a gateway into their worlds, but also create accessible and relatable metaphors that both the main characters and audience can understand. Chise’s inherent traits of being a Slay Beggar stem from her birth and circumstances, but they also serve as a metaphor for her lack of self respect and will to survive.

And this is where the metaphor ends, and the journey of fantasy begins again, with us. It’s in the imaginative minds of Yamazaki and Jones, in the open-ended answers they bestow upon us, but lastly, in the audience, in ourselves – what we take away from the wonderful worlds these creators have given us. It’s been sometime since I’ve read a book, but recently I’ve picked up Philip Pullman’s A Book of Dust. I’ve found myself diving into its pages, absorbing every word and every detail with a renewed appreciation for the fantastical and the wild. Maybe after I’m done I’ll dive again into Jones’ stories, wander in her prose, get lost in her worlds. Who knows what magic I’ll find this time? It’ll be my own personal fantastical quest, filled with a scenery I’ve never seen before: the wondrous, and the mundane.

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When not finding ways to doom all her ships, Natasha can often be found on her twitter as @illegenes, or writing more about anime on the blog Isn’t It Electrifying! Feel free to swing by and say hi.

By: news+feed@crunchyroll.com