#but the former is very much fixable and even reclaimable

[littleeyesofpallas]

Bleach’s Issue with Queer characters (3/3)

So then there’s Giselle (and to a less canon extent Shutara) who I think Kubo erroneously categorizes as similar to both eachother and to the above gay men stereotypes.  And I think understanding Kubo’s approach to Giselle hinges on what he set up (but didn’t follow through on) with Shutara.

I’ve mentioned before, but I’m pretty certain think Shutara Senjumaru is meant to be a kabuki onnagata*.  Not in-world, mind you; I don’t think she is somehow employed as an actor in a literal kabuki theater. (i would hope that was obvious, but one can never be too sure...)  Just like Tier Harribel isn’t literally a light skinned, dark haired person doing gyaru/ganguro fashion, her presumably naturally tan skin and blonde hair is based on the general aesthetic.  Shutara likewise is channeling distinct look and feel that draws from a mix of oiran, geisha, and kabuki aesthetics. (granted all three are closely related in influencing one another’s aesthetics in the first place)

But while the look and even the demeanor tend to play all three ways, I think the particular fixation on clothes, costuming, and the somewhat adjacent theme of “disguise” that Kubo has shown to put emphasis on in this kinds of situations, as well as the fact that he gave her a distinctly masculine name, Senjuumaru, point to her being some form of queer, albeit something Kubo seems to pretty clearly lack the understanding to better articulate himself.  Is she a trans woman?  Gender fluid?  A male identifying transvestite?  There’s not enough real material for us to draw that particular line, but I don’t think it’s a stretch to conclude that she’s not a cis woman.

*Kabuki is traditionally an all-male theater form, and “onnagata” refers to actors who specialize in playing women roles.  Generally all actors train in the delineated masculine and feminine styles, but an actor’s career sticks to just one or the other...

...There is a whole big thing about how cultural institutions like kabuki and takarazuka theaters’ creation of socially acceptable and even celebrated, public and professional genderqueer spaces creates a myriad of gender dynamics that just don’t exist in the West, and it’s something that has made the attempt to adopt a globalized understanding of queer identity a little trickier in Japan:

In the West the gender binary was rigidly enforced such that to explore alternatives was basically uncharted territory (that’s an oversimplification, but you know what I mean; There’s a lack of contiguity with those who came before) but with japan there were already nonbinary spaces in place, and the lines around those don’t neatly line up with the ethnocentric western ideas some people try to pigeonhole those into.  In general, it gets dangerously close to just flat up colonizer rhetoric.

(forgive the outdated reference image, but honestly I don’t know what even counts as a recognizable example of a “““trap��” character these days.  And I use that term with GREAT reluctance, but I want to differentiate the exploitative cliche usage of a trans caricature from any actual representational trans character.)

Anyway...  That all just leaves Giselle.  And let’s be real, there’s no excuse for this one.  Maybe that seems like a weird anticlimactic place to take this series of posts... like, after all this, maybe it feels like I should’ve had some equally obtuse logic to explain this one away as a matter of escalation or as a Rule of Threes.  But no, not really.  I just think it’s a little unreasonable to treat the massive screwup that was Giselle’s portrayal as part of some sort of bigger ongoing trend, when it’s really more of an unrelated outlier in a bigger umbrella subject.

She is in fact a bad case of the long standing anime/manga fetishization of transwomen as a concept, as a spectacle to be gawked at and made the butt of jokes or to be included specifically as an anomaly.  And in Giselle’s case her specific depiction as a depraved, physically/sexually abusive villain on top of that is an explicitly toxic combination.

In spite of that, I still don’t think Kubo actually meant for it to reflect poorly (not that that matters or diminishes its harmfulness) I think he genuinely just has no real grasp of what that kind of characterization means.  I say that largely because of the way he treats a lot of her role in the plot.  Not that she’s integral to moving it forward, but that she occupies space and survives in the plot as long as she does, even when she could've been conveniently (and frankly more neatly) written out;

He seems to like drawing her and gives her a range of expressions and gestures (something he doesn't afford all his characters, even some of his major ones)

He likes to expand on her powers and gimmicks beyond what was necessary if he'd been aiming for minimum effort

He even paired her off against his personal favorite character, Mayuri.

Point being, Kubo seems to personally like Giselle as a character, but he took a horrible insensitive and ignorant path in writing her character.

But an undeniable fact is, she’s not alone as this kind of villain, she’s just the only one that happens to be trans.*  Mayuri himself, Aaroniero, Szayelaporro, Zomarri (just a little bit), Tousen (at the very end), Tsukishima, As Nodt, Gremmy (a little), and Askin all to some degree dip into this shtick Kubo does where his villains aren’t just sadistic but ecstatically so, to the point of intoxicated, gleeful derangement.  Yet in spite of that, those characters are all usually meant to be “cool,” not detestable.

Remember, Mayuri was initially written as, hands down, the most despicable characters in Bleach —he was abusive and sadistic, misogynistic, actually physically grotesque, predatory, dishonorable sneaky & underhanded, complicit in a genocide, just in general a clearly communicated mad scientist villain, and he was all of this in direct and deliberate contrast to Uryuu’s chivalrous personality type(already established in his defending Orihime from Jiroubou) as well as Nemu’s noble stoic subservient victimhood— and yet he’s also Kubo’s favorite character in the series.  Kubo doesn’t actually write Giselle any particularly worse than the others, BUT he also doesn’t disassociate her being trans from her being villainous, and again, even incidentally, that manages to perpetuate a harmful narrative in the overall.

*(Actually, I’ve kinda touched on it before but I sort of suspect Mayuri could be trans, in which case; OOPS, that makes two, and that doesn’t make it better....)

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