This Is My Fanart Of Hello Kitty If She Was An Olm

#Danluo req

wjen the rarepair doesnt have any content ❤️ because its a rarepair❤️😂

ooughhm.....

OOGHH.....

HE SMILED AT HIM.

luoheng.

LUOHENGGGG.

im sorry but like??!? EHEHHEH they make me giggle and kick my feet no way we got A WHOLE ASS OFFICIAL ART of dh totally admiring his boyfriend

April Shower

i need to regain the kinda muse i had as an edgy 14 yo like honestly that was where all the good stuff is from

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!

i envy ppl who can provide deep analysis about their favorite media and/or characters b/c whenever i like something a lot it looks like:

im sorry but transmasc shion is so canon to me and you CANNOT convince me otherwise :333 or maybe non binary she literally has the nb flag colours OMG EVEN HER OBSESSION W BLACK AND WHITE!! LIKE IN THE FLAG!!!! theyre not being slick at alllllll omg......

congrats to pripara for having THE WORST abbreviation ever

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