#goodbye single | Explore Tumblr Posts and Blogs

ladyloveandjustice · 3 months

Text

My Favorite New Manga and Graphic Novels I Read in 2023

It's time to take a look at the comics and manga I read this year! I read a whopping 78 manga and graphic novels in all. Here's a link to my Goodreads year in books (the manga is at the beginning, the novels start with Siren Queen) and my storygraph wrap up.

I also read 36 novels! If you want to see my favorites, check out my reviews here!

And finally, I've got the continuing manga series I've enjoyed this year here, so check that post out too!

The Magic Fish by Trung Le Nguyen

This is a tale about a first-generation Vietnamese-American boy struggling with coming out to his mother. He connects with his mother through fairytales-- she uses them to express her journey as an immigrant, and he uses them to explore his queerness and identity as a Vietnamese kid growing up in America. It's an absolutely gorgeous book full of Trung Le Nguyen's signature stunning art. The fantastical, ethereal fairy tales are weaved beautifully into the lives of the characters. The book explores how fairy tales can form connection, can express culture, can tap deeply into something real and true, and can offer tragedy and catharsis. The protagonist uses fairy tales to write his own story, and the ending is lovely and moving.

Exit Stage Left: The Snagglepuss Chronicles by Mark Russell and Mike Feehan

You may know Mark Russell from his darker, socially aware re-imagining of the Flintstones, which made quite a splash on Tumblr with this post. Well, I had pleasure of meeting him at a local convention, and I finally got his comic re-imagining of Snagglepuss, also of Hanna-Barbera. He re-imagines the titular pink puma as a closeted gay playwright in the 50's dealing with McCarthyism. It's as wild as it sounds,but also really digs into the politics of the time, the struggle of standing against oppression and how art fights through suppression and censorship. It's tragic, hopeful, poignant and full of historical references. I enjoyed it ! Definitely be cautious if you're deeply disturbed by homophobia and suicide.

The Summer Hikaru Died by Mokumokuren

A story about a teenage boy, Yoshiki, who realizes that his best friend and crush Hikaru has died and been replaced by a strange eldritch being who is imitating him. But, missing his loved one and desperate to cling to any piece of him, Yoshiki decides to keep on having a relationship with this mysterious entity. This book's horror is visceral and sublime, especially the bizarre, creepy, beautiful body horror involving the being who replaced Hikaru. It's an exploration of anxieties involving grief, relationships, and sexuality that hits just right, and the atmosphere layered with dread is top notch. I love me some messed up relationships and unknowable queer monsters, and this book delivers.

Chainsaw Man, Look Back and Goodbye Eri by Tatsuki Fujimoto

Chainsaw Man needs no introduction, but I did end up really enjoying the story of the doggy-devil boy hunting other devils. It got so tragic and intense at the end, with lots of great surreal horror imagery and darkly funny moments. I'm impressed it went so hard, though the random powers that kept piling up made what was happening hard to follow at times, especially in fights. I'm also enjoying the current weird arc starring a class-A disaster girl and the demon sharing her body.

Look Back

I really do enjoy how Fuijimoto writes messy pre-teen/teenage girls. They ring so true. The manga follows the fraught friendship between two girls as they create manga, exploring the struggle of art mixing with real relationships, and how someone keeps creating after tragedy. It's a little hard to follow at times (especially since I have to differentiate the leads based on hairstyle), but it's a good read.

Goodbye Eri

Probably my least favorite of the three, but it's a fun read- a weird ride that examines the thin line between fiction and reality in art and makes good use of Fujimoto's cinephile background and signature gaslight gatekeep girlboss characters.

Is Love the Answer? by Uta Isaki

The story follows a teenage girl, Chika, who has always struggled with not being attracted to anyone. When Chika enters college, she meets queer people all across the spectrum of asexuality, and starts exploring her own identity. As an ace, this is the best story about asexuality that I've read. It was a nuanced look at asexuality and queerness and all the variations. Chika's journey and how she found her community was moving and poignant. It's a honest, moving look at relationships and identity, and how complicated and hard to define both of those things can be. I loved the moments of Chika imagining herself as an alien to explore and cope, and how she bonded with people through magical girl shows and other geekery. My favorite new manga of the year, it really connected with me!

The Girl that Can’t Get a Girlfriend by Mieri Hiranishi

Oh girl, I've been there. This is a fun autobiographical comic about a butch4butch lesbian's struggles finding a partner in a word that favors butch/femme, and it's just an honest look at the messiness of loneliness and relationships. I also appreciate that crushing on Haruka in Sailor Moon and becoming a HaruMichi stan was the beginning the author's queer awakening because uh...same! She has taste, and is truly relatable.

Qualia the Purple: The Complete Manga Collection by Hisamitsu Ueo and Shirou Tsunashima

See my review of the light novel here for my general thoughts on the story, since it's adapted pretty faithfully. I do think the manga is overall the best experience though, because the illustrations break up the detailed explanations of quantum mechanics a bit, and it includes a bit of extra content that fleshes things out, especially withthe ending.

The Single Life: 60 year old lesbian who is single and living alone by Akiko Morishima

Just like it says on the tin, this focuses on a 60-year-old single lesbian. And definitely the shortest thing on here, since only one 30 page chapter is out. It's a grounded story about a woman looking back on her journey to finding her identity, touching on sexism in the workplace and other challenges. It paints a portrait of a proudly gay elder who's still perfectly content being single and feels fulfilled by the life she had rather than regretting past relationships. I definitely want to see more.

Daemons of the Shadow Realm by Hiromu Arakawa

Arakawa's latest, the story is about a boy who lives in a small village with his little sister is imprisoned and has to carry out a mysterious duty...but then the village is attacked, supernatural daemons awaken, and everything he knows might be wrong. I'm enjoying this fun romp so far! It delivers an really nice plot twist right out the gate (and an excellent subversion of the usual shonen "must-protect-my-saintly-sister" narratives). It boasts Arakawa's usual fun cast and interesting world (and cool ladies). There's some slight tone and pacing issues in the first part- there's so much time spent explaining mechanics the lead doesn't really get to react to his life turning upside down. But it starts smoothing out by the second volume. I'm excited to see what's next!

Superman: Space Age by Mark Russell and Michael Allred

This is a retelling of Superman set throughout the late fifties to early eighties that has Superman interact with the political and social upheaval of the time and question his own role in things. It explored the Superman mythos through a lot of cool new angles, and has a good Lois (why yes she would break Watergate) which is how I always measure a Superman adaptation. My one complaint is, while I liked some of the things it did with Batman, the ending with the Joker was pretty weak. The ending of the overall comic will also be bizarre for anyone not uses to how weird comics can get, but I think I dug it.

#DRCL by Shin'ichi Sakamoto

A manga retelling of Dracula that focuses on Mina as the protagonist and imagines the characters at an English prep school. It adds a lot of diversity to the characters and has exquisite, evocative art. I'm curious where it will go and what it intends to do with all it's changes (especially Lucy), because right now it's mostly vibes and creepiness and the direction isn't clear.

99 notes · View notes

inbarfink · 1 year

Photo

Okay, so like, I love Undertale to bits, but it does often rub me the wrong way when people use it in comparison to games like OFF, which condemn the Player’s violent actions without actually offering the option for a Pacifist resolution, like “well, Undertale is Objectively Better because there’s an actual choice to be nonviolent so it can actually condemn the player in a meaningful way”.

Especially with OFF, I think. Cause while many people consider it a predecessor to Undertale, their themes and the way they relate to their “What the Hell, Player” moments are very different, I think. And this attitude of judging them purely on whatever they’re effective at making the player ‘feel bad’ about their actions is really reductive for what both games are trying to do with these kinda moments.

Like, in general it’s super frustrating when video game moments discussing morality and player-player character relationships are evaluated purely in the sense of ‘are these games justified in Making Me Feel Like a Bad Person’. That’s usually a super-reductive way to look at video game morality. And I really don’t think it helps the discussion to frame “What the Hell Player” moments as an actual personal attack or attempt to evaluate your IRL morality.

And specifically with OFF, I feel like it’s actually very thematically important that the game only has one ‘Route’ and that it is the ‘bad’ one. Because OFF, in my reading at least, is a game very much about narrative framing. Like, that’s the whole thing with the Batter not actually transforming as his Special Ending Monster Duckie Form.

The Batter didn’t change, our point of view did. When we’re controlling the Batter, it is his POV that we’re seeing the world through - and in his POV he’s just an ordinary guy doing the right thing. But if we take the Judge’s side, we’re also taking on his POV. And the Judge, much like any other victim of the Batter, sees him as some sort of monster.

And that’s like a huge theme in the game. While there’s probably no POV that makes the world of OFF like an actually good place to live, it is important to note we are viewing it through the perspective of someone who has already vowed to destroy it. I know a lot of people look at the difference between the Guardians as they are in the Room’s Chapter 4 and the Guardians as the Batter face them as a matter of a personal change between then and now - I think the matter of different perspectives also plays a part.

In the Room we are viewing Dedan, Japhet and Enoch through the eyes of an innocent child that is desperate for companionship and sees them as friends - in the rest of the game we are viewing them through the eyes of a man who sees them as obstacles in his holy mission and upholders of a world that must be destroyed. Neither of them can give a truly unbiased perspective when it comes to the Guardians.

And despite the game making it explicit that the Batter is as a puppet controlled by the Player - although the Player is the one who give the Player Character power - it is the Batter who manipulates the Player into aiding him on his mission by framing it in a way that is more palatable. Despite all the power the player supposedly holds, the Batter holds the power over the narrative framing, and that’s enough to let him take control.

That’s why there’s really no choice in the game but keep helping the Batter along his ‘Holy’ mission - him being able to influence our framing also means being able to influence the options we can see. It is the Batter who wants us to see a world where his violence and destruction is the only possible solution. And the point of the Judge calling out the Player for continuing along the Batter’s set path (rather than stopping the game and turning it off) isn’t just to Make the Player Feel Bad for doing what they need to do to, like, see the whole of this well-crafted story....

It’s to make the Player self-reflect. When did they first had the inkling that the Batter isn’t on the up-and-up? If (‘if’ bring the keyword here) it was all real, when would the point where continuing to aid the Batter would be morally inexcusable? By the point the Batter is beating a defenseless child to death it’s pretty darn clear that We’re the Baddies, but did the Player process any of the hints beforehand? Just how much sway did the Batter’s framing of the world and the narrative hold over the player? And how this is different and similar to how the Player normally engage with other narratives, especially other RPGs?

There is a reason, after all, why the Judge big speech at the end is also about how felt deceived and tricked by the Batter’s words. His feelings are meant to be a reflection of a Player’s on some level.

And despite ‘calling-out’ the Player, he does make it clear he also sees himself as culpable of aiding the Batter in his henious actions. The Player and the Judge’s situations are somewhat paralleled here.

And it feels very notable that the Judge starts out explictly addressing to the Player much more than the ‘Puppet’:

And by the ending of the game, although he does call-out the Player to, he’s got a lot more to say to the Batter as well.

I think it’s because he also underestimated the power the Batter had as a ‘Puppet’ of the Player, up until he realized how he managed to manipulate both him and the Player (although he still sees both himself and the Player at fault for falling for it and helping the Batter).

I think the main point here is to try and make the Player think more critically about the narratives they engage with. In many ways, the Batter is the concept of the RPG protagonist dilluted to its logical extreme. He was literally brought into existence just moments before the story started, and his only purpose in life is to defeat all the bosses, ‘finish’ all of the areas and then just turn the game OFF. That’s also why siding with the Batter is considered the ‘canon’ ending of the game, in this allegory it is the ending that correspond most to Regular Player Behavior.

It’s trying to make you think about how different POVs and narrative framing can be used to change the way we view a story. If the Batter can skew the lens we view the story enough so that it makes us side with him… how other forms of media, and in this case espacially other games can convince us that the protagonist’s actions are justified and heroic? Is there some ignored angle in this and that game, some ignored ‘Judge’ of sort, that would totally reframe the supposed morality of the story?

I think that’s the main thing, or at least one of the main things, one is supposed to get from OFF. Not just a blanket sense of guilt for all the made-up pixels you killed in this game or other games, but an invitation to try and examine the stories you play from more angles, and think more of the narrative tricks that can be used to justify morally dubious actions. For this to work, the game has to work in tandem with the Batter and his POV for the most part. And because of all of this, I believe OFF’s lack of a ‘moral choice’ system does not take away from its central points and actually helps them. The only choice comes when the Judge barges in and offers a counter-narrative to the Batter.

Undertale, in contrast, is a lot more about Player Actions and Player Agency. Like, Chara and a Murder-Route Player have essentially a reverse dynamic from the Batter and a Normal Ending Player. With the Player convincing the Player Character (?) into the viewpoint that the world exists just to be drained of Content before turning it Off and moving on to the next one.

Undertale is more about the Player having power, and not just in the Unkillable Time God sense, in the sense of the power to reframe and change the narrative. Both the Undertale Pacifist and Murder Route has an element of going ‘off script’ of what the game story ‘expects’. Like, the Normal Ending is the only one where the the Player just does what was expected of them and engage with the game world in the same way all the other characters do - that’s just why it only exist to try and convince you to go on one of the other routes.

The Pacifist Route is about the Player using their Aforementioned Unkillable Time God Powers to break away from the world’s general resignation to violence as the answer and proving to everyone a peaceful resolution is possible. The Murder Route is about the Player engaging with the world like… an ordinary RPG basically (as long as you’re heavy on the grinding) and in the process twist the entire narrative into something much darker. The narrative isn’t tricking you into it, if anything, the narrative is subtly nudging you to the Pacifist Ending.

If Undertale comes off as a more effective ‘condemnation’ of the Player than OFF, that’s probably because compared to OFF Undertale is more about what the Player does and the Player’s actions. I still don’t think it’s a very productive to paint it as, like, trying to Shame you. It just makes things far too unnecessarily personal in a really weird way, and it also kinda isolates discussion of the game’s mortality to only how justified it is within the game’s own context - without any acknowledgement of what the game’s trying to say in a larger context when it makes the characters so darn lovable and makes it so heartbreaking when they die.

Both in context of how we can try and take the game’s ideals into the real world....

And how it relates to other video games. And I mean, Undertale isn’t just about whatever violence in video game narratives is really necessary - that’s absolutely part of it but also, it’s about how Players engage with video game narratives. And whatever looking at them as just challenges to be one by getting the Big Number....

or challenges you need to 100% complete and drain every single secret from

can take away from what makes a good story actually work.

There’s a reason why the in-universe ‘morally correct’ to play Undertale is to experience the True Pacifist ending once and never open it again. (I dunno if I’ll say the Message of Undertale is ‘looking up all kinds of different minor options and content mining always ruins the magic of stories’ and if it is it’ll be a very funny case of a game’s fandom disproving its own thesis, but it’s certainly something the game wants you consider.)

Despite the obvious influence OFF had on Undertale and especially on it’s Murder Route, I actually think it might be more useful to compare it to Deltarune, at least once we see more of it and where it’s going. With both of these games exploring a very complicated power dynamic between player and player character and the player being robbed of moral choice and possibly forced to do bad things to advance the narrative - it might be actually a more interesting comparison.

#Off #undertale #undertale meta #undertale analysis #off game #you see on one hand I can't say I enjoy the story of Undertale LESS just because the fandom complied this big ol' lists of Every Single #Event Trigger in the whole entire game or something #but on the other hand there is something very impactful about going through the Pacifist Route #and KNOWING you won't be able to justify to yourself doing a True Reset #so you just try your best to do everything that you can and really experience the game to it's fullest before you have to say Goodbye to #all of these characters basically forever #and espacially after just helped Asriel agree to let US go and move on #the fact the game also pleads for us to go and move on does enchance the emotional power of the ending on some level I think

231 notes · View notes