Steve having a sexuality crisis is all good angst and realistic writing, and Steve having known for a while and being confident and learned is great too, but I love Steve “just skipped the crisis part” Harrington.
Because really, who gives a shit if he’s gay when he’s fought monsters?
His best friend is a lesbian, and he loves her, so it’d be hypocritical not to accept this part of himself.
He’s had to protect his friends from mind demons with Kate Bush songs, this is not even a blip in the crazy shit he’s had to deal with.
One of his children friends has telekinetic powers and can go into your mind to figure out your location and save you from giant spider demons.
He almost died, everyone he loves almost died, who cares?
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THE LONG-AWAITED KANJI TATSUMI POST, aka --
Let's start, firstly, with Kanji's own words:
IMPORTANT: this will touch on real world homophobia, particularly the sort that ran rampant in the early 2000's / 2010's, which translates into the game, as well. Please tread carefully.
The main theme throughout Kanji Tatsumi's Palace is his struggles regarding sexuality, or more accurately, how he must be one "side" or the "other." Kanji's Shadow self, while partially reflecting the tone-deaf nature of how sexuality was interpreted back in the early 2000's, is showcasing a Kanji that is more comfortable, more out with his sexuality... a part of him in which he doesn't identify.
"Accept me for who I am!"
"Can't believe something like this was inside me."
A major part of Kanji's punkish persona stems from this battle. "Feminine hobbies," while thankfully not categorized as such much now-a-days, were regarded as just that: feminine, something men shouldn't enjoy. Kanji, as I've discussed previously, partakes in many such hobbies, an enjoyment which makes students gossip and file him into a category in which he doesn't, he feels, belong. One of Shadow Kanji's main arguments is that girls belittle him, whereas men are less judgmental -- however, I feel that his Shadow took this mentality to an extreme.
"They cry if you get angry, they gossip behind your back, they spread nasty lies... they look at me like I'm some disgusting thing and look at me like I'm a weirdo!"
"But you're a guy! You don't act like a guy! Why aren't you manly?!"
"What does it mean to be a guy? What does it mean to be manly?"
Kanji, I feel, has the experience of most male-identifying individuals in the early 2000's: to cry is to be weak, and to share your emotions is to equate yourself with a "girl," a sentiment which then had negative connotations. Kanji's father died whenever he was very young, and his mother is what influenced him most... something that, unfortunately, would be picked apart in school. With this in mind, Kanji compensated by being every definition of manly he could find: being tough, starting fights, never showing his emotions.
But there were times he would slip. Where he would bring up the fact that he could sew or knit, and his peers would tear him apart for it, because they were "right"; this is to say, Kanji has been torn between multiple sides for many, many years, and this extends toward his sexuality as well.
We first meet Kanji whenever he is meeting with Naoto. To avoid delving in too deep, it is hinted - and shown - that Kanji has a visible crush on Naoto, who at the time is known as the Detective Prince. Later, whenever this is shown to be the opposite, Kanji... has little of a reaction. He doesn't sigh in relief because he "actually is straight all along!" - he's beginning to connect the dots, that he liked Naoto before, and that he likes Naoto now. That is to say, he liked it whenever Naoto represented as a male, and likes Naoto now that she represents as a girl, too. We can see this struggle plainly before the beauty contest:
"If you do, my doubts will finally be cleared" -- this, to me, comes across as desperation: he wants to be straight. He wants his Shadow self to be wrong, because being gay just doesn't ring a bell with him. Neither does being straight. It doesn't fit him, and he only knows two options: either to be straight... or not be straight.
He is shown to be relieved during the beauty contest, by quietly proclaiming how pretty each contestant is, and whenever Naoto doesn't show up for the final part, he is... quiet. That doubt is creeping in again, and he doesn't know how to grow comfortable with it.
The hard, and unfortunate truth, of Kanji's whole story is that he was born at a time where the term bisexual was treated as a naughty word. It wasn't acknowledged, and many people refused to accept that it existed. Kanji's Social Link ties directly into this struggle, with him making a child a doll, and instead of being chastised for it... the boy thanks him. He doesn't bully him, or ask why a boy is knitting a doll. And Kanji, in turn, doesn't question why a boy would want a plush.
Throughout these exchanges, Kanji grows more and more comfortable with himself:
Because... Kanji knows that his Shadow Self is a part of him. Maybe not to the extremes it portrays, but it is a part of him... and a part of him likes men, as well as women. He likes someone no matter their gender. He realizes, slowly, that he appreciates them all the same, as shown most literally shown with Naoto. Slowly, rank by rank, Kanji opens up: that his strength was used as a cover-up for his knitting, that he thought by being tough nobody would care about his other hobbies. That, while he identified with being tough, he didn't like how it was used: to indicate someone that couldn't possibly like the things that he liked. He didn't identify with that, and he didn't identify with liking everything the "other half" of him had to give, either.
So, at the end... Kanji learns that he doesn't have to pick a "side"; that he just has to be himself, and this self... is who he is, and who he wants to be, and who he is proud to be, at a time where bisexuality wasn't spoken of.
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