#apparently shes been portraying herself as the only trans in the family despite the fact that ive BEEN OUT FOR A DECADE

[charliethemanticore]

Hi btw being trans does not automatically grant you supernatural understanding of all esoteric trans knowledge. You actually need to put effort into learning or put effort into keeping quiet about things that don't pertain to your specific experience

[recentanimenews]

FEATURE: Here are 9 Trans Anime Characters to Celebrate Transgender Awareness Month

  As we come to the end of Transgender Awareness Month, there’s a lot to account for within the community. During this time, we take a moment to mourn trans lives past and present who were lost to violence and oppression, but we also celebrate the amazing strides that we continue to make around the world. All in all, we bring a spotlight to trans culture in all shapes and forms throughout the month of November.

  In the spirit of Transgender Awareness Month, we’re taking a look at some of the positive representation of trans people in our favorite anime. Trans anime characters are more prominent than people might realize, between recurring characters in popular anime who have their own compelling arcs and shows that portray thoughtful and insightful explorations of gender. They’ve been superheroes, pop idols, magical familiars, and often flaunt their identities with grace and strength. 

  Let’s close off Transgender Awareness Month with a bang by celebrating some wonderful and inspiring anime characters who have carved their place in positive trans representation.

   Fire Emblem (Tiger and Bunny) 

Image via BN Pictures

  Among the league of sponsored superheroes protecting Sternbild City in this 2011 sci-fi romp, Fire Emblem is easily the most eccentric of them all. While their depiction in the initial series left a lot to be desired, the pyrokinetic hero received a rather compelling arc in the 2014 movie.

  In their childhood, Nathan Seymour was the target of hate and ridicule for wanting to present more feminine. That harassment followed them well into their adult years as they tried to come even further out of the closet with the way they dressed. Having overcome all of that, Fire Emblem went on to become one of the most successful heroes in the city in a Cinderella story that’s both emotional and inspiring.

  Lily Hoshikawa (Zombie Land Saga)

    A recent and very prominent example of transgender anime representation, Lily Hoshikawa displays all of the trademarks of the transgender experience. She has a deadname, dysphoria over her changing body that actively led to her death, and relief in the fact that she no longer has to worry about male puberty in her undead state. As a zombie, Lily projects tons of confidence and affirmation in her gender identity and uses that energy to help propel her idol unit to stardom.

   Desmond (Carole and Tuesday) 

  Image via Netflix

  Though a relatively minor character in Shinichiro Watanabe’s 2019 musical anime, Desmond was portrayed as a popular and influential artist in the Martian music industry. Due to some sort of influence from the planet itself, they began to display male and female characteristics in their body. It placed a strain on their body, but they were also able to use the experience to revitalize music on Mars as a whole. There’s nothing better than seeing a trans person rise to success.

   Sailor Starlights (Sailor Moon) 

  Image via Hulu

  Among the many groundbreaking examples of feminism and LGBTQ+ representation shown in one of the most iconic magical girl anime of all time, the Sailor Starlights stand out as remarkable trans heroes. Introduced in the fifth and final season of the original series (which got its first official US release as recently as 2019), the Starlights are a team of Sailor Soldiers who disguise themselves as a popular boy band among civilians. Having heroes who consistently switch genders to save the day and kick butt doing it is nothing short of awe-inspiring among transgender fictional characters.

  Ruby Moon (Card Captor Sakura)

    One of Eriol Hiiragizawa’s magical familiars came in the form of Ruby Moon, who disguises herself as Nakuru Akizuki when interacting with humans. Though she uses female pronouns on a regular basis, she actively and proudly wields her agender identity among others. It’s not often that a character in a children’s anime can be that open with their gender identity, so it’s immeasurably special when someone like Ruby Moon can.

  Everyone in Wandering Son

    The beauty of this unsung 2011 gem is its focus on gender exploration among adolescents as a major subject matter. Wandering Son offers its characters a chance to discover and cultivate their sexuality in safe and welcoming environments; a feat that’s rare enough in pop culture to begin with, let alone in anime. Aside from some regular human drama, the young students are able to present as feminine or as masculine as they like as they discover what it truly means to be their truest and most genuine versions of themselves.

   Alluka (Hunter x Hunter) 

    Among the enormous and eclectic cast of characters in this long-running series, Alluka stands out as a transgirl who plays a major role in the final arc of the 2011 anime. Alluka Zoldyck is the youngest sibling of Killua and was assigned male at birth. She also carries within her a spirit who she wants people to acknowledge and accept as part of her identity. Though she is consistently misgendered and mistreated by the rest of her family, Killua always makes it a point to defend and enforce her gender identity and welcomes every aspect of her personality with open arms. Otherwise, she has a significant arc throughout the series in which she is the only person who can save Gon during a major crisis.

  Alluka is also regarded as the culmination of the original manga creator's experience in portraying trans characters in his work. Previously known for far more problematic depictions of trans characters in popular works like Yu Yu Hakusho, Yoshihiro Togashi has made it a point to consistently explore gender and further his knowledge on it throughout his career. After decades of trial and error, Alluka is easily the most nuanced and thoughtful depiction of a trans girl whose exploration is as insightful as it is cathartic. 

  Kikunojo (One Piece)

    In this writer's opinion, One Piece's track record for transgender representation is questionable at best, if its overt reliance on gay and trans caricatures for comedy and spectacle is any indication. Enter the Wano arc, where the anime’s apparent 180 on trans characters has resulted in the most sensitive and refined depictions of trans characters in the iconic pirate anime’s long-running history.

  As one of the strongest samurai in the nation of Wano, Kikunojo has a strong sense of justice and a will to protect her country. Despite her renown as a male warrior, she describes herself as “a woman at heart” and presents progressively more feminine as she teams up with the Straw Hats against the tyrants residing over Wano. In a rare occurrence for One Piece, her gender identity is never brought up for ridicule. Instead, she is revered for her beauty and is able to fight on equal footing with some of the most powerful samurai and pirates in the world. As far as One Piece's previous failed attempts at trans representation go, Kikunojo is easily a breath of fresh air in terms of her strength and characterization.

  Hana (Tokyo Godfathers)

  Image via GKIDS Films

  In Satoshi Kon’s award-winning tragicomedy, Hana is a compelling character marked by tragedy and determination. As a former drag queen, the culture she found herself in helped to inform the identity she displays even as she becomes homeless. Despite some ignorant statements from her cohorts, she still has her own community that loves her and welcomes her in her entirety. 

  In the 2019 English dub, she was even voiced by Shakina Nayfack, a rising Jewish transgender actor.

    Anime has made many leaps and bounds in transgender representation. Like any form of media, there are always improvements to be made in equal and fair portrayals of trans characters. But from the most popular show to unsung but lovely little gems, trans representation can be found everywhere if you know where to look. Transgender Awareness Month is a time to honor heroes who live in and around and all over the gender spectrum, and our favorite anime characters are no different!

  What are some of your favorite moments of representation in anime? What do you think shows could be doing better in the future? Comment below with your thoughts!

      Carlos (aka Callie) is a freelance features writer for Crunchyroll. Their favorite genres range from magical girls to over-the-top robot action, yet their favorite characters are always the obscure ones. Check out some of their pop culture editorials on Popdust as well as their satirical work on The Hard Times.

  Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

  By: Carlos Cadorniga

[seyaryminamoto]

Do you think they could make Azula gay in the netflix live-action? Many people in the fandom seem to think she had a thing for Ty Lee. I don't see it, but do you think they could retcon the show just to pander to shippers?

Somehow I knew this sort of question would pop up in my inbox one day. I just did. Such foresight powers I have (?)

Anyways, the answer got pretty long, but I hope it’s comprehensive enough in regards of why I don’t think it’s likely, why, even if it happens, we shouldn’t freak out about it regardless of if it negates our headcanons, and why, on top of it all any characterization the ATLA cast gets in the liveaction should be judged as part of a second timeline, removed from the first, and analyzed as such.

Alright, first of all... despite what popular opinion these days would have everyone believe, a character’s sexuality and sexual identity are not the only relevant and important factors in them; in fact, I wouldn’t even call them the most important factors unless you’re outright telling a story with very specific socially critical purposes in mind. Yes, you can deal with these subjects in stories that aren’t exclusively about sexuality, and yes, it offers important representation to communities that were largely unseen for the bulk of human history. But making a character’s entire story arc revolve around nothing but sexuality and their struggles because of it is actually a failure at offering good representation? The point in having media featuring representation in the form of diverse fictional characters is based on allowing minorities to see themselves in this kind of content and for majorities to understand these minorities and their stories are just as valid as theirs are. If minorities are reduced to a single aspect of their multifacetic lives, the only thing the story in question would achieve is turning a character with the potential to be dynamic and complex into some flat minority stereotype, throwing away the countless human complexities through which media can tell rich and important stories that do provide genuine, quality representation to these communities.

Ergo, if Azula were written as a gay character in this Netflix adaptation, this aspect of the reworked character should not, and frankly, CANNOT, be the only thing that matters about her. Azula has a large role to play in this story, a role related to the war, her family, her friends and her nation, and a lot of her complexities stem from how she deals with all these subjects, none of which have anything to do with romance or sexuality. Therefore, I’m pretty sure a lot of us loved her character for reasons that had nothing to do with her interactions with potential love interests, whether they’re of her same or opposite sex: Azula has always been SO MUCH MORE than whatever we’ve headcanoned her sexuality to be, and this is something I hope everyone keeps in mind for this liveaction show.

We need to stick to our priorities, to a fault, as Azula’s fans: whatever sexuality or love interests she’s given, if she’s given either thing to begin with, her story isn’t exclusively about that. So, if Bryke decide to alter this aspect of her original characterization by dialing up Azula’s love life, it’s not the driving aspect of the character and it’s not the only thing we should be concerned with when it comes to her new portrayal in the future liveaction show, regardless of whether said sexuality agrees with our headcanons or disagrees with them.

Alright, then. After that particular clarification had been made... I’m of the opinion that Bryke have indeed pandered to shippers and fans in the past, namely in their sequel show and certain later announcements related to it, announcements that were basically the LOK version of “Dumbledore was gay all along but I thought it’d hurt the book sales and that’s why I only said so in a press conference after the final book was a bestseller and my bank accounts were overflowing” (by which I mean, the last-minute sudden “Aiwei (the dead guy) and Kya (Aang’s daughter) are also gay” comments Bryke made post-Book 4 to convince people they were aboslutely pro-LGBT and their world was very diverse despite said diversity only became known in the final scene of the show and was never portrayed positively or properly through these side-and-background characters...?).

So, would I say, categorically, that Bryke would NEVER write Azula as a gay character if they thought it’d make their show more popular? Nope, I can’t. I really don’t trust them enough to think they’ll prioritize top-of-the-line storytelling over pandering to the crowd that will cheer them on most loudly.

THAT BEING SAID...!

The story they told with Azula in ATLA, despite what certain people are convinced of, had a very straight-forward message, one that I didn’t like very much, especially since that message seemed to render irrelevant the character’s incredible storytelling potential and remarkable complexities. Where Azula could have been so many things, in the show’s finale she became some sort of flat, sad warning stating: “don’t try to control people through fear or they’ll turn against you and you’ll end up all alone.”

As much as I have no doubts Bryke will want to incorporate new themes and somewhat “update” ATLA into more progressive times, I really doubt they’ll sacrifice the story they’re apparently so proud of having told through Azula only to pander to a specific part of ATLA’s audience. For that matter, there’s been a growing movement promoting many same-sex ships and trans interpretations of virtually ALL ATLA characters, so if they were to pander to the fanbase through Azula, why her? And if they do pick her, why stop there? If they do stop there, then they’re not being inclusive enough with their fandom. Why satisfy one portion of the fandom and not satisfy the other ones too? :’D

Worse yet, accusations of foul play will absolutely be guaranteed to rise when a potentially gay Azula isn’t given a redemption (because, considering the latest Azula-related comments by the creators and comic writers, they’re not likely to do it this time either), because “irredemably evil lesbian trope, that’s so sexist and homophobic!” And with that, the long, glorious time ATLA has spent as the golden, poster child of western animation will suddenly be overrun with the very same hysterical purity police that has overtaken all newer fandoms and filled them with antis who attack creators, writers, actors and other fans for creating or supporting “toxic” content.

Point and case being... if they don’t stray from the story they already told, they have a slam dunk since a lot of people will love the show if it’s virtually the same as the one they watched when growing up. All they have to do is alter a few events, maybe expand on a few things, stall the story for a few more years so the actors can age realistically and not be overworked... and tadaaaah! You have a blockbuster! Change fundamental aspects of characters by adding new factors to pander to certain fan demographics? You’d basically be poking a wasp’s nest and hoping they will turn out to be honeybees instead, ESPECIALLY if the character being coded as LGBT is either evil or fated to die, as both those tropes are what seem to incense that side of fandoms more than anything else.

If they want to write Azula as openly gay, they’d have to alter her general character message and whole arc to avoid the guaranteed problems I’ve pointed out up here. Paired with this? They’d have to retcon their recently established “the Fire Nation became homophobic in Sozin’s time!” canon imposed by LOK’s comics, so, if they stick with this tidbit of recent LGBT info, a gay Azula would most likely have to be a highly repressed lesbian who can’t even accept herself? It’s not impossible to tell that story... but it kind of feels counterproductive, and absolutely discouraging too for people who are struggling to come to terms with their own sexuality to see themselves reflected in a repressed character who most likely will meet the same depressing end she does in ATLA.

Now, my final point: again, I can’t say it’s impossible that this might happen. But EVEN IF Bryke decide that this is how their new story will work, and the new Azula will be gay, and they change everything so it’s non-problematic and they successfully avoid being chased with pitchforks by the purity police...

A new characterization doesn’t negate the one from the original show in the least. The first ATLA is what it is, a finished product that can be judged and interpreted in a thousand ways, and has been, for the past 10+ years. A new canon does NOT overrule an old one, a thought that I’m sure the very same purity and nostalgia police I’ve mentioned will absolutely adhere to once the new story changes ANYTHING and they don’t like it. Whatever new possibilities they test out with a new story don’t have to be taken as facts that apply to every iteration of the characters. For reference, imagine judging every Marvel comics character for the actions and behavior of their MCU counterparts. Imagine people raging at Peter Quill in the comic books because he’s in love with Kitty Pryde and how DARES he cheat on Gamora with her?!

... Just how would that make any sense? :’) Likewise, it would make no sense to behave this way with ATLA and its future liveaction adaptation. What happens in the liveaction concerns the liveaction. What happened in the original show can serve as a guideline for the liveaction, if anything, a frame of reference, but they can (and will) change elements in the story as they please in the new adaptation. However similar as they might be, they’re TWO stories, and they should work perfectly well as standalone shows.

Let’s look at it from the opposite POV, to further illustrate my point: if the new show SOMEHOW made Sokkla canon, unlikely and damn near impossible as it is: that doesn’t make it canon in the original ATLA. Hence, if I were to run out in the streets screaming Sokkla is real and endgame in EVERY POSSIBLE VERSION OF ATLA, the entire world would have every right to throw rotten eggs at me and tell me to shut the fuck up because it’s not true, it’s only real in the liveaction, and that doesn’t have any bearing on the original show.

Same principle applies with a potential gay Azula :’) Even if it happens, it’s liveaction only. The original show remains what it is, and her characterization there can be interpreted and derived from as we see fit.

To close this answer, I confess that I, personally, have next to no interest in this liveaction remake. I can’t even say I’ll watch any of it. For one thing, I’m really annoyed by the trend there is these days to turn animation into liveaction, because it seriously feels like an underlying way to say that liveaction is somehow the superior choice for audiovisual storytelling and that really grinds my gears. Animation has been fascinating media for me for years, I’ve always felt it’s more versatile than liveaction, and if I ever happened to write something that gets an onscreen adaptation, I’d probably choose animation over liveaction even if I’m not given a choice on the matter :’) So, for starters, I’m not happy with the notion of a liveaction remake for this show. If they wanted to remake ATLA and had chosen to do so with animation, I’d definitely be much more interested. But this way? Uh... not my cup of tea.

So, whatever Bryke want to do with this new product is absolutely their business (same as it was their business with ATLA, frankly). People will criticize it, that’s a guaranteed thing, and people will love it, and people will be angry, and people will be happy. But I’m probably not going to be one of any of these people this time around. The only way I would likely enjoy that show would be if it’s a genuine, critical overhaul of everything they did in the original show, reworking many key aspects of MANY characters, no matter if the main anecdote remains intact. And considering how highly self-critical the recent ATLA-related content has been, I doubt I’ll get my wish. So... good luck to everyone who wants to watch this liveaction, have fun, I won’t spoil it for you by dumping on it this time as I did with the comics, but I certainly won’t be joining any of your parades much either :’D

[jobethreviews-blog]

Euphoria and Toxic Relationships

Note: this post will talk primarily about the relationship between Rue and Jules, but others will be mentioned.

The thing that sets Euphoria apart from the other teenage shows on television right now is that, in my opinion, it‘s real in a way that most shows targeted at the same demographic are not. It isn’t sugarcoated– it digs deep down to the ugly and the messy, and at times it’s so horrific that I’ve had to close my eyes. As a teenager, I think that it captures the loneliness and confusion of adolescence incredibly well, and I’ve found that something in it resonates with most of my peers.

One of my favourite things about it, though, is how it deals with toxic relationships. When teenagers think of a toxic relationship, they think of those like the one between Maddy and Nate– straight-up abuse. And while that is absolutely a form of a toxic relationship, one of the worst kinds, it is not the only form toxicity can take. We see it in Cassie and McKay’s relationship, in how he’s so clearly ashamed of her reputation and she’s so desperate to be what he wants her to be. It isn’t healthy for either of them, despite them loving each other.

However, the most important toxic relationship they show (in my opinion), is the one between Rue and Jules.

Rue and Jules started out as my dream relationship. As a lesbian myself, I’ve always longed for that kind of intimacy, that kind of immediate closeness and deep emotional bond. Watching the scene in episode two where they bike and tease each other never fails to make me smile. I was sure that I’d spent the entire season rooting for them to be together.

But that changed during episode four.

It becomes apparent that Rue is using Jules as a replacement for drugs, and that Jules either does not reciprocate Rue’s feelings or is not ready to admit that she does. This, coupled with the expectation of keeping Rue sober that is suddenly thrust upon Jules, is where their relationship begins to become toxic to both of them. Rue is worryingly dependent on Jules, and Jules is weighed down by the baggage that loving an addict comes with.

As someone who has grown up surrounded by addicts, I felt deeply for Jules– although my relationships with addicts has been familial rather than romantic, it’s horrible to be burdened with the idea that if they relapse, it’s because of you. Logically, it is never because of you, but that’s what you tell yourself every time. You blame yourself, and try to find ways to fix the unfixable. You can’t save someone who doesn’t want to be saved, and the expectation that you should is so heavy, especially for a teenager. I saw so many people saying that Jules was selfish for pulling away from Rue, but I don’t think she was. Ultimately, she’s not Rue’s therapist or her sponsor, and it isn’t her responsibility to help with Rue’s mental health at the expense of her own.

Not that I think any of that is Rue’s fault, either– Rue has spent so long relying upon other things to make her feel good that she does it with people, too. When you’re not used to having to keep yourself happy, and the thing that has made you happy is taken away, you’re going to crash– and naturally you’ll search for something else to attach yourself to. Rue can’t fathom the idea of being happy for herself, so she uses Jules as her motivation. Which is fine, to a point; not everyone can be happy for themselves when they first begin recovery and you have to start somewhere, but there has to be boundaries, which is something Rue and Jules have never had.

Not to mention, Jules seems to be just discovering how to deal with romantic feelings for women. I’m cis, so I can’t claim to know anything about what trans people experience regarding their relationship with gender. However, it seemed to me that in episode seven, when hanging out with her city friends, Jules’s comments about her relationship to femininity and men explained so much about her hesitance in her relationship with Rue. She seems to be insecure in her womanhood, and doesn’t know how to navigate a relationship where she doesn’t feel like she’s “conquering”, as she said she does with men. (Trans people, please correct me if I said anything wrong about this situation!) Neither of the two are ready for the kind of relationship they want– and you know what? That’s perfectly okay.

Euphoria handles Rue and Jules’s relationship with such nuance. They show how a relationship can be extremely loving yet toxic at the same time, and how some people can care deeply for each other but not be right for each other. This is a type of toxic relationship I see all the time, both in romantic and friendly context, but I don’t see it portrayed in teen shows all that often.

The fact that Rue and Jules are not right for each other at their current place in life is perhaps most evident in the finale. Despite knowing how unhealthy they are, I’d be lying if I said I didn’t cheer when Jules admitted that she’s in love with Rue. But the depth that they clash was glaringly obvious in the train scene. Rue’s anxiety and Jules’s enthusiasm are too different, too essential to who they are at that moment for them to ever work out. By not getting on the train and leaving Jules on it, Rue let her go– she gave Jules a chance at a healthier life, and gave herself one too.

One main criticism I’ve noticed of that scene is that Jules doesn’t listen to Rue’s reservations, particularly the comment about Rue not being able to miss her meds. Here’s the thing about that– Jules is painted, from the beginning, as an unflinching optimist. She’s naïve in such a painfully teenage way, desperate to see the good in everyone and everything. Therefore, obviously she’s going to believe that somehow, it’ll all work itself out. She wasn’t trying to dismiss Rue’s feelings, or to put her needs above Rue’s. She simply didn’t think what they were doing could go as wrong as it could, and no one should fault her for that.

I believe that in the second season, Rue and Jules could grow together in a healthy way. They could find a way to ensure that their love isn’t toxic. However, at this current point in their lives, they can’t be together in a way that’s healthy for both of them. And that’s neither of their faults.