Ok Guys Hear Me Out....blue Long Haired Abandoned By The Team's Captain Toxic Yaoi

Discussions of what "counts" as "canon" queer representation fall apart the second you start talking about media older than about five years or so. If your only metric for "canon queerness" is a character looking directly into the camera and explaining their identity in specific, modern, US-American-English terminology, you're not going to get a good picture of what queer media looks like. If your barometer for what counts as "canon" requires two characters of the same gender to kiss on-screen, you're not going to get a good picture of what queer media looks like.

Dr. Septimus Pretorius (portrayed by Ernest Thesiger in 1935's Bride of Frankenstein) was never going to look directly into the camera and explain his sexuality in 2024 terms, but he remains an icon in queer media history. You cannot look at that character (blatantly queer-coded in the manner of the time, played by a queer man in a film directed by another queer man) and tell me that he isn't a part of queer media history.

To be honest, even when discussing modern queer media, I would argue that the popular idea of what "counts" as "canon" is very narrow and flawed. I've seen multiple posts in the past few days that say the Nimona movie is "implied" trans representation, and I just...no, y'all, it's not "implied," it's an allegory. The entire damn movie is about transgender struggle, and the original comic is deeply tied into N.D. Stevenson's own queer journey. It isn't subtle. You cannot look at that movie and pretend that it isn't about trans struggle. It's blatant, and to say that Nimona "isn't canonically trans" is a take that misses the story's entire message, and the blatant queerphobia that almost kept the movie from happening. (I wrote a five thousand word essay about the topic.)

Queer themes, queer coding, queer exploration, and queer representation can all exist in a piece of media that doesn't seem to have "canon queer characters" on the surface. Most queer characters are never going to be able to explicitly state their specific identity labels, be it due to censorship or just due to the fact that scenes like that don't fit in some narratives. Some stories aren't conducive to a big "so what's your identity?" scene.

Explicit, undeniable, "this is my identity in no uncertain terms" scenes are very important and radical, and I'm not saying they shouldn't ever exist. I am saying that you can't consider those scenes the only way for queerness in a piece of media to be "canon."

and I hope you die (I hope we both die)

stupid dosent even know how to wear glasses

saw an opinion i disagreed with and didn’t say anything about it. +350XP

jolly boy

its horse time babey

Kisaku for my bi-monthly ship art quota. I wanted to draw another piece to be posted together but I've been physically burnt out lately so I made a no Kidou goggles file instead. Heh

This doubles as a character analysis art so I will write down my thought process under a read more. It's very christian so if you're not comfortable it's okay to not read it

I had been having the idea of making a Kisaku art with christian imaginery since early January, but I only managed to sketch a good composition for it last week.

This art is based on a post-Shin Teikoku arc scene that's also one that's very memorable for me. Like, it's just a very tender and profound one, especially when one can see Kidou's hand holding Sakuma's tighter after Sakuma told him he can't shake his hand. I also referenced the scene when Sakuma faints right before the match end whistle.

Another thought that inspired this was the christian concept of being saved from sin and its consenquences by Jesus' death and resurrection (salvation); which is pretty much what happened to Sakuma in this arc. Sakuma fell to the temptation of the aliea meteorite (sin), but it's Kidou's love that saved him from destroying himself physically and mentally (salvation).

An interesting part from Shin Teikoku arc was that while it ends with Sakuma and Genda being saved, Kidou came out becoming even more traumatized especially after seeing what happened to his friends and hearing Kageyama's words. And that's without mentioning that he also witnesses Someoka's sacrifice.

Kidou and Sakuma are two people who feel deeply yet tenderly for each other so I wanted it to show in the colors and rendering. I used colors that could remind someone of the dawn. I wanted to color in low contrast but the initial palette hurt my eyes (physically) so I ended up opting with shading with only highlight, with the soft light peeking through behind the pair. Subtlety was all I was aiming, so I tried to draw Kidou's expression that could express it too.

The text on the background is,

What is Salvation? Salvation is... to be saved from sin, and its consenquences from death, and eternal separation by your cross.

The text was thought and written by stream of consciousness, unlike the drawing where I worked on it precisely unlike my usual drawing style. Initially I wrote it by hand to see where should I type the text but I found that handwriting conveys the emotions in a rawer form so I went with it.

I also free style-ed the text's content because NGL, scrolling through christian articles and wikipedia pages gave me religious trauma based anxiety so I let my instinct and write whatever came to mind.

I was torn between "crucifix" and "cross" as I wanted a word to replace "love and suffering". I went with "cross" because crucifix is used to specifically refer to the cross Jesus was crucified on and the portrayal of it. For people, the word used is "cross" (referring to the christian concept of carrying one's cross). Kidou is very much associated with pedestalism, even Kageyama saw him in an idealized manner of a perfect creation to bring him back to his childhood. But despite everything Kidou is only human, and he's as sinful everyone else.

I had so much fun working with this piece, and I think I'm more satisified than I was with my previous character analysis art. I hope I could do more of this type of works in future.

Inazuma Eleven birthday art batch 3 (Batch 1) (Batch 2)

Flower explanation and alt versions of Kidou's art under read more

Lotus: Symbolizes purity, strength, resilience, and rebirth. It's commonly used as Buddhism symbolism, and some depictions of Acala (Fudo Myoo), which is the Buddhist deity Fudou is named after, depict him with the flower

Anemone: Also called windflower. The purple anemone was used as protection against evil, fitting Kazemaru's position as defender and his arc in the second season

Rose: The official flower of Father’s Day, with red roses representing alive fathers and white roses to honor deceased fathers, representing how fatherhood is a central theme in Kidou's writing. Red roses mean true love and passion. White roses mean innocence, purity, and virtue. The combination of red and white roses together symbolize unity

Tiger lily: Symbolizes confidence, pride, prosperity, and good fortune