Zutara, romance novels, and the female gaze
Okay so I’ve been thinking about the female gaze a LOT so I checked out a subreddit about romance novels, despite never having read one. I came across this meme (which was initially a Tumblr post and then got posted to Instagram and then to Reddit and I’m now bringing back to Tumblr — Internet telephone, pls never change):
And…what is The Southern Raiders, if not a platonic grovel? Katara’s pain is central to the episode. It’s central to Zuko. Zuko asks Katara what he can do to make up for his betrayal; she demands the impossible. He reads between the lines, cockblocks her brother to get the necessary information, and then waits outside her door overnight (which he also did for Iroh, the one person we know for sure he loves). He basically makes himself a receptacle for her rage, and he holds space for her by coming with her on her revenge quest and carrying their bags and not saying a damn thing about what she should and should not do beyond like…asking her to rest. And obviously the grovel works! She forgives him and then they’re thick as thieves, bantering and fighting and saving each other’s lives, etc.
On a different note, I’ve been told that enemies to lovers is one of the biggest tropes in romance novels, similar to YA lit and fanfic. Here’s something else I found in the romance novel discourse:
And…yeah. In TSR, Katara really does show Zuko her worst self, because she doesn’t feel the need to perform for him. She doesn’t feel the need to perform moral perfection OR cold blooded vengeance. She bloodbends in front of him and he just goes with it. She doesn’t kill Yon Rha and he just goes with it. He doesn’t treat her any differently afterwards. Maybe they talk about it off screen, but I kind of like the idea that they don’t, because Katara doesn’t need to explain anything.
And it’s so interesting, because some people in the ATLA fandom have a totally different read on TSR. They think Zuko was encouraging Katara to get revenge (by what, keeping his mouth shut?), and that Aang is the one who acts as her moral compass. I believe that either Bryan or Mike said in the DVD commentary that Aang is the angel on her shoulder the entire time. And this interpretation does make sense if you see it from the male gaze, where Katara as an object of affection is acting in an angry, irrational, threatening way. But if you see it from the female gaze, you recognize that actually it’s probably the most emotionally taxing experience Katara has to go through, and she doesn’t owe it to be nice or perfect to anybody. Katara’s formative trauma literally comes to a head, and she has to make a decision — no, a discovery — about who she is in relation to the tragedy that defines her life and even her identity (as a waterbender, as a parentified child who becomes the mom friend, as a genocide victim), and she’s accompanied by someone who trusts her judgement and validates her feelings.
I’m not saying TSR is explicitly romantically coded, but when it conforms so well to romance novel tropes…is it any wonder that so many people thought “yes this is her man?” And then he takes lightning in the heart for her and reaches for her when he’s literally dying, I will never be normal about that either
1K notes
·
View notes
These aren't full ref sheets but I was trying to take some clear pictures of Hephaistos for later art reasons and then got side tracked doing all of the Pandaemonium bosses so here they are in order. Also for anyone following who doesn't play FFXIV and knows it as the catgirl game, enjoy this instead? VISUAL SPOILERS obviously.
Asphodelos
Warder of the Condemned: Erichthonios
Mythic Creation: The Hippokampos
Mythic Creation: The Phoinix
(+ familiars)
Hemitheos: Hesperos
(+ sexy fanfic redesign by Nemjiji)
To be brutally honest I never really liked either of these designs compared to every other Hemitheos we get, I think the really brutal black and red of the Phoinix is weakened by gold accents, but I still am always down for gay vampire surf rock. The Savage version kind of looks like Ultimalius as well if you've played XVI.
Abyssos
Mythic Creation: Proto-Carbuncle
Hrgrhhgrhrgrh
Hemitheos: Hegemone
^ My favourite detail on this is you can see the parasite's outlines in her robes and in her legs, then right through the eye holes on the mask to wrap around the torso. I'm convinced this version of Hegemone is functionally an ant being piloted by a cordyceps infection.
Hemitheos: Agdistis
She's very big
Perfect Imperfection: Hephaistos
I'm probably biased by Abyssos being the first raid I was there for day of release but these really are all fantastic. It's also when the story abandons all pretense of not being (at least partly) about family abuse and is loudly using the body horror and shackle motifs to talk about that. It's great. Hephaistos specifically is constantly bulging and twisting in and out of different forms like a highly unstable chimera and the more I look at these the more I notice parts that just should not be there. He's giving everything.
As for the Savage design It's a hard thing to rate as such but my favourite part is the veins that grow down from the eyeholes in his mask like bloody tears.
Thanks Abyssos I love you
Anabaseios
Mythic Creation: Kokytos
Dæmoniac Dungeon: Pandæmonium
It's really hard to communicate how huge this nasty tumor crab I zoomed out as far as physically possible in the game engine and subsequently ended up at a goofy angle staring up his nose.
Ephemeral Justice: Themis
Best boy. The double ended lance and second pair of arms are fantastic for this character.
Theos: Athena
In.. almost every final fantasy adventure you're fighting the real villain not at the very end but a little beforehand, the big iconic end boss is often more a metaphorical figure representing everything wrong with that first person's ideals. Athena cut out the middle man and became her own JENOVA.
I do like the moth angel, especially the hollow body full of dubious orbs, but with her eyes closed all the time it gives off the impression of this not even being the true body but some kind of anglerfish lure in the shape of a fairy... which might be true because this exists:
I really really love her twitchy anemone feelers and how the moth body ends up grafted to the rest of it waist down.
Anyway there's the gang I did not specifically intend for this to be design reviews I just wanted to have clear photos because when you actually see them in game there's other things to focus on. In hindsight I can appreciate more the theming of each tier and then the series as a whole, but my only (extremely obvious) observation for now is that every character Athena had a personal hold over is decorated in chains somehow and so I should have seen the Hegemone thing coming lmao. Heph and Aggy are still my favourites I don't think that's changing any time soon. I'm also noticing that Anabaseios is now just old enough for random DF parties to fuck up severely and I find that fun so I'm going to go fight the crab mansion now.
222 notes
·
View notes
Who Wants To Talk About Japanese Orthography In Manga???
Me, it's me, I do, and I have been chomping at the bit to get the chance to.
Orthography refers to the conventions of written language to represent sounds. That may bring to mind the idea of rigid grammar rules or spelling standardization, but in a linguistic sense, orthography simply describes observable trends across language use. This isn't about authority--I am not going to talk about what schools teach or say people should write one way or another. This is about examining how real people use written language creatively to convey different things in popular media.
This is a huge topic, so I'm only going to use examples from MHA to highlight Horikoshi's style.
First, let's get a run-down of the main parts of written Japanese and how they tend to be used.
We've got kanji and kana; kanji are logograms, while kana are syllabaries. Kana refers to both hiragana and katakana collectively, but we will delineate the two from here on.
The Wikipedia page for kanji, describing this more succinctly than I'm about to.
For clarity, I'm gonna color-code each one.
Let's take a quick look at all three in action.
Chapter 65
By virtue of being the syllabary that grammar particles are written in, hiragana can get away a lot that kanji and katakana can't.
You can write simple sentences in hiragana alone, like so:
The sentence is perfectly comprehensible like this, but it reads as casual or perhaps a bit immature, like the person is either leaving out kanji for speed or simplicity (like online) or they aren't confident using kanji. Although, the word hito (person) is extremely common and its kanji is simple, so this would probably look more natural:
But there are also kanji for the word kawaii, so you could also write it this way:
On the other hand, writing the whole thing in katakana looks weird as fuck:
bECAuSE iT kINDA reADS LIKE THis, or maybe L I K E T H I S
It seems almost alien, overemphasizing the phonetic sound of the words, implying there's something notable or unusual about them.
But what if you write it like this?
Both ways use katakana to put flavor on a specific word. The first puts it on person, which could be used in a situation where someone hasn't been named yet, but the speaker tonally emphasizes your knowledge of them--like "oh, you know who."
The second emphasizes cute, which could read as sexually suggestive, teasing/joking, or even a threatening tone, depending on the context. "Real cute, ain't they?"
Basically, the connecting grammar bits need to be in hiragana, but nouns, verbs, and adjectives can typically be written in any of the three systems. That introduces choice into the matter, and these choices may have some cultural connotations.
This is a subtlety in written Japanese that manga loves to take advantage of. Orthography contributes a lot to characterization and tone, so individual creators develop little quirks as part of their own writing style.
Now let's finally take a gander at some of Horikoshi's!
Kanji instead of hiragana for semantic emphasis
Chapter 48
Best Jeanist could have used only hiragana for the word "good" (いい, ii), which is a very common way to write it. But he's not just commenting that they are nice kids, he's talking about them as "goodie two-shoes" and even puts brackets around the idea. The kanji emphasizes the cultural idea of a Good Child™, a well-behaved, morally upright, obedient young person.
Kanji instead of hiragana denoting a serious or severe tone
Chapter 36
Katsuki's "you" pronoun omae being written with kanji comes across as markedly serious, especially compared to how his dialogue is normally written. This is actually the only time Katsuki says omae and it is written with kanji--all the rest are in hiragana, which tends to read as more casual.
Hiragana instead of kanji denoting a gentle tone or youthful/childlike language
Chapters 129 and 183
Katsuki and his omae show us how kanji use can be seen as more mature and serious; Eri's dialogue does the opposite of this by using hiragana when it could use kanji, emphasizing her youth and innocence.
Katakana instead of hiragana or kanji for emphasis or slang
Chapters 209, 207, and 2
As I detailed above, one of katakana's most common uses is similar to italics or all-caps.
But you also tend to see slang written with it, and depending on the slang, the word being in katakana can immediately clarify it from other, perhaps more standard meanings. In Jirou's case, her personal pronoun uchi can mean a couple other things, so it being written in katakana clarifies her usage. It could arguably also imply she is taking a bit of an argumentative tone--Katsuki's slang is typically written in katakana for both of these reasons!
Katakana denoting regional dialect/accent, nonstandard pronunciation/muddled speech, or confused articulation
Chapters 102, 208, 394, and 2
Ochako gets flustered and defaults to her regional Kansai dialect. Instead of "chigau wa" (Tokyo dialect), she says "chau wa" repeatedly.
Katsuki and Toga both drop the w- sound from a word. Katsuki says "ore a" instead of "ore wa," while Toga says the word "kawaiku" as "ka'aiku" and "kawaii" as "ka'aii." Notice how the katakana which represents the vocal omission/hiccup is actually smaller than the others? That's also a little stylistic detail for communicating this kind of nonstandard speech.
Izuku repeats All Might's words, chikara wo, in a confused daze because he isn't following All Might's point. By removing the kanji especially, this kind of katakana emphasizes him sounding the words out without recognizing the underlying meaning.
Basically, Japanese has some excellent ~vibes-based~ orthography because of how the language is structured!
Of course, you find this kind of thing in English as well--especially in the age of the internet, where people note that "how dare u" reads as tonally distinct from "how dare you." As you develop language fluency, you tend to pick up these things subconsciously more than anything, but it's one of my favorite things to analyze and compare.
These are just a few examples and my own interpretations of them. I'm sure there are many more uses and flavor-nuance I'm not picking up on. Since any given choice can be read a few different ways, context is very important. My examples aren't definitive proof of anything, but it can be fun to keep these kinds of details in mind while reading.
Shueisha and Shonen Jump surely have in-house standards for text, and mangaka must operate within that range. That said, I have indeed seen every one of these examples in other manga as well.
And on the independent side of things, doujinshi and online manga are basically the wild frickin' west--I have seen tons of totally crazy, highly creative ways to take advantage of the unique flexibility found in Japanese, but that's a post for another day.
I will probably write more about this kind of thing in the future when I can pinpoint some more observations, but I hope you all enjoyed the ride. <3
151 notes
·
View notes