Them

hope i can finish this wip some day 🥹

Hello chat please hear me out

omg i forgot i made these.....

when you hear the premise of saiki k is "a loner boy with amazing psychic powers is constantly hounded by people desperately wanting to be his friends" its easy to assume that its because they think his powers are awesome, but... they dont even know about his powers. they just all love his autism swag so much that theyll start crying and screaming and throwing up if hes not around

“if women want equality then they should be drafted” what if — just hear me out — what if nobody should be drafted. not even *looks behind my shoulder* not even men.

Transmasculinity and queer sexuality in the works of Ikeda Riyoko

Content Warning: Discussion of transphobia and suicide

Spoilers for Dear Brother, The Rose of Versailles, and Claudine

Ikeda Riyoko—perhaps the most famous member of the “year 24 group” that played a large part in creating the foundations of the shoujo manga genre—is often credited with laying the groundwork for depictions of queer characters in shoujo, and in particular with creating the archetype of the gender-bending heartthrob heroine, or “girl prince.” Building on earlier representations of butch or transmasculine characters in early shoujo manga such as Princess Knight, and the Takarazuka theater tradition of the otokoyaku male role actor, Ikeda’s enormously popular gender non-conforming heroes—Lady Oscar from The Rose of Versailles, Rei from Dear Brother, Julius from the Window of Orpheus, and the titular character of Claudine—helped to establish that there was a major mainstream audience excited to cheer for a hotheaded, androgynous tomboy with a heart of gold. Lady Oscar in particular has fingerprints all over the history of anime and manga, from a gender-bending cameo in Pokémon to serving as the inspiration for iconic characters like Tenjou Utena.

When I first read The Rose of Versailles last year, I expected its depictions of queer and transmasculine characters to be somewhat limited—after all, the comic was written for mainstream audiences and a mainstream publisher in the 1970s. But across Ikeda’s work, I was deeply surprised with the level of care and nuance with which Ikeda approaches transmasculine love stories. While there is obviously a lot about Ikeda’s portrayal of transmasculine characters that feels dated to modern audiences (for example, her comics often do fall back on “biological” ideas of women’s weakness and emotionality, and sometimes psychologize her character’s genders in uncomfortable ways), I was surprised by how much of these comics still hit for me today. What makes them work for me is both the extreme pathos with which Ikeda writes transmasculine character’s experiences of rejection—and, at rare moments, gender euphoria —but also the fact that her trans characters are not simply given a one-size fits all born-in-the-wrong-body narrative. Instead, they are each portrayed as unique individuals with varied personal relationships to their gender, their sexuality, and the historical context of the society they live in.

Read it at Anime Feminist!

heard this song and was like omg jotahan

I was looking at Shin and Keiji's wiki pages and I saw something kinda funny.

In Shin's relationship section, with Keiji there's the line "If Sou lives in chapter three, upon the prospect of Keiji's execution at the banquet he becomes upset, yelling about how Keiji can't die, possibly referring to the fact that he wants to kill Keiji himself."

Link To His Page Cuz I Can't Screenshot Right Now

But on Keiji's wiki page under the relationship section with Shin it says "If Sou lives in Chapter Three, upon the prospect of Keiji's execution at the banquet he becomes upset, yelling about how Keiji can't die, implying that he cares for Keiji somewhat despite the fact that he voted for Kanna in the second main game. Keiji seems unsure of how to receive Sou’s outburst and says nothing."

Link To His Page Cuz Yada Yada

It's funny as fuck to me, because one says "I want him dead" and the other just says "I want him" and the difference made me reread the pages and laugh.

But it's also interesting because the relationship between these two is so weird and complex and the people writing these had two different ideas on their dynamic (that could coexist yes, but only in fanfiction).

I also want to add the fact that both pages reference Shin's yelling about Keiji not being allowed to die, then he trails off with no more context because honestly, what the fuck was that dude? Happy pride month to these two weird grown ass men.

im so gonna draw them soon when i get the time #trust🤞

luoheng

thats the post.