Ah, yes. Now is finally the time for me to do my long-awaited total autopsy on the myriad of reasons I hated Yuri on Ice!. Just kidding, we will talk about that a little but really only to highlight on a bigger point. This, much like Deadpool is a love-story. It’s the story of how this anime Stella got her groove back and how I fell for the medium that propelled me to middling convention success.
But some background. I sound so tsundere talking about YoI because honestly, it’s fine. My feelings have long since simmered away from active hatred to just more of rounded disappointment. It’s odd watching an anime that was like genetically modified for me to like it. Victor’s every 90s anime boy in one and Yuri’s literally a cinnamon roll with no personality. But to me it was so aggressively average that its stans simply exhausted me. I had no patience or desire to deal with people who said it’s the greatest show ever. It was Free! but with ice-skating instead of swimming down to the completely interchangeable doormat of a dark-haired main character to the far more charismatic side cast and a second season full of more interesting characters that we can’t focus on because we gotta focus on the breeding pair that faces zero tension or conflict.
I’m getting ahead of myself. We’re here to talk about love.
So after my heart was ripped out of my chest by the summer, fall and winter of gay ice-skating, I was actually pretty burned on all things. It was like the world had lost its luster and while I still very much enjoyed the classics (they’re classics for a reason) I had a hard time enjoying new things. Close friends and followers will recall my immense disappointment with Pokemon: Sun/Moon and Pokemon: Ultra Sun/Moon. It was like a fog floated over me. I was afraid to like anything too much for fear that I would hear Victor’s smug cackling in the back of my mind as if to mock me and my feelings of ambivalence and continue to damn me for feeling something that wasn’t unfettered and overly enthusiastic support.
And then Hitorijime My Hero started.
This is an old boy’s love story. I vaguely remembered each character or at least the shape of them. The plot is…simple? Setagawa is a high-school student who looks up to his sensei, Kousuke and Kousuke is older and a teacher and thus conflama. In addition there are side characters who are far less important than Masahiro Setagawa and Kousuke Oshiba: they matter the most to me and the most to the show. And honestly, breaking it down, this is a re-skinned Gravitation but instead of Shuichi being an idiot, he’s a sensitive and conflicted student who falls in love with the only person who treats him as a complex human being rather than a pawn or puppy and the stand in for Yuki Eiri is actually loving, kind, supportive and protective: so the opposite of Gravitation. It’s a simple little story. It isn’t trying to be more than what it is. It isn’t claiming to be more than what it is. It’s a basic love story with plenty of heart and even though the last couple of episodes with Kousuke’s dumb and contrived plan to “test” his relationship are stupid on Yuki Eiri levels; I can mostly forgive this show.
The show never tries to be more than it is and is really simple. And for that very reason, I fell in love. It wasn’t the greatest, no one said it was the first, the best, the anything. This goes back to my earlier thesis statement of people reading too much into “It’s okay.”
I was floored with how hyperbolic the discussion around YoI was. Yuri is not the first anime character with anxiety. Victor is not the oldest love interest in a boy’s love series. Yurio is far from the most complex rival. All the beats of the series have been done by other series (some series have done those beats better) and while sure, YoI did fine with its depictions, it was far from the best, brightest or anything: it was an animated television show about ice-skating that was very gay.
But what Hitorijime My Hero does well, it’s good at. The voice acting (at least subbed, I cannot speak for the dub) was wonderful and from the start of episode 1 with Setagawa saying that he looked up to the heroes he saw on television and how they helped him cope with his less than ideal life. I loved the opening theme, the closing theme. I loved all of it. And I was far from the only fan talking about the show. But no one had the audacity to say that the show was doing anything revolutionary. I fangirled over this series like many I’m sure did when they decided ice-skating was cool. I sketched costumes, learned theme songs, memorized dialogue and I fell deeper and deeper for the show. I finished season one satisfied and despite my love of it, it passed through me. My life moved on. It didn’t make history, I wasn’t forever changed. I was fine with it and still am. I never finished my costume but the high I felt while trying to morph my body into something that looked like Kousuke Oshiba is a joy I still feel. The anime made me happy for one glorious and fleeting seasons and like then, it was done.
Hitorijime My Hero never tried to be more than what it is. And for that, I love it.
I still remember the first boy’s love series I picked up as a young one. It was Gravitation when I was a youngling and almost immediately I loved how radically different the series from from the shonen action fodder that dominated my anime landscape.
Ever since then, I’ve been a huge fan of shonen ai. For one reason or another, I found the aesthetic and tone much more rewarding and interesting than the typical romance anime and their shojo counterparts. But because shonen ai by default focuses on male characters, the women in them tend to be…well, they’re something. And sure, we’ll pause here for the folks saying:
Well, why are you up in arms about the women in a boy’s love comic?
Because biologically, I’m female and boy’s love is, hilariously, mostly read by women; particularly, young women and the internalized misogyny attached to the genre can be very damaging.
Today we’re going to go over the three main ways women are framed in boy’s love narratives.
For some vocabulary, framing is how we look at a person or a person’s actions. We’ve talked a lot about framing this year but I think it’s an important part of fictive language. Even though we may know a character is in the wrong or in the right, the framing around that act or character can flip those two things very easily. Again like with Killmonger in Black Panther or Thanos in Infinity War the movie frames them oftentimes in the right even though we know they are both genocidal and very very wrong. Framing is an issue because as a viewer, it isn’t always easy to point out the negative in that character. If everything else in the film or work is telling you that this thing, character or act is okay it’s difficult to buck against that even though you may know logically or in your heart that it may not be true.
And now without any further interruption: here are a few ways that women are framed in boy’s love.
The Woman, Obstacle
This is probably the most common and most hurtful. The woman in so many narratives from Gravitation to Yellow feature subplots or plots where the woman stands in the way of the love between the two male leads. Now, this isn’t entirely unheard of. Sometimes men do discover they do not care for their female partner and try either out of curiosity or genuine desire to be themselves be with a male partner. And sure, not every woman is gracious during such a time but the idea that the woman is a consistent barrier to love is frustrating and exhausting. You also see this a lot in fanfiction where authors who wish to ship two male characters will demonize the female aspect the more canonical heterosexual pairing. This is troubling for more than one reason, the first is again the often flat out demonization of the female for standing in the way. Gravitation is the example I’ll use because it is still one of my favorite animes of all time and does absolutely face is issue. Right as Yuki and Shuichi are ready to finally say they are together, a young woman appears claiming to be Yuki’s fiance. This throws a wrench into the entire plot of these two men finally accepting that they may have feelings for each other and the plot (which is peak Murakami hating women and she will continue to do this in almost all of her works for the series) is a series of sight gags trying to get this woman (whose name I refuse to Google or recall) out of the way. Her refusal to “give up” Yuki, a man she is promised because Yuki’s father is a terrible garbage fire of a person along with the rest of the Uesugi family is seen as not courageous or valid but as irksome and immature. Eventually, the plot of the anime and manga give her the sloppy seconds that are Hiro and she is forgotten as Shuichi and Yuki find better things to argue about like whether Yuki is bisexual or gay.
Another example of this is Lizzie in Black Butler. Lizzie is…well, she is a precious little thing (says this Sebastian through gritted teeth). Lizzie is Ciel’s fiance and she is entirely oblivious to the obvious relationship between Sebastian and Ciel while also managing to be the one thing that keeps Ciel from completely diving off into the abyss of the black space where Sebastian’s heart would be. Lizzie’s helplessness and stupidity (which is somewhat corrected in later parts of the manga and the movies but as far as I am concerned, the damage is already done) make her an item that often requires saving: she is in fact that only character that requires as much saving as The Little Master does. Her needing rescuing and just well, existing on screen takes moments away that are more vital to the narrative and Black Butler has a lot going on; story-wise, we simply don’t have time to humor Lizzie and thus she’s consistently one of the least popular characters in the series.
The Woman, Duplicitous
Ah yes, the woman who plays the field for the sake of ruining the main couple. If there is a more common trope in boy’s love, it’d likely only be rivaled with bad hand proportions and hair that covers over one of the protagonist’s eyes. I’ll pull one more Gravitation example because this is my blog and I can do what I want. Yuki’s sister, Mika (who confirms the concept of the Uesugi family being full of garbage people) spends most of the manga and a vast majority of the anime gaslighting Shuichi for the simple sake that she doesn’t like the pink-haired brat with her precious little Eiri. There’s just one problem: this is awful and manipulative and tiresome. And while, yes, Gravitation is an adventure in keeping Yuki Eiri miserable, it’s particularly harmful because Mika is one of the few female characters that: 1) is important 2) has a great deal of lines and 3) isn’t a moron. Mika’s fall from grace is tragic because of what she could be which is a supportive sister who does rightfully have some reservations about her brother’s new boyfriend. We’ll pull a recent example as well, Hitorijime My Hero is the anime that made my heart sing after the Summer of Incessant Ice Skating. Hitorijime My Hero is pretty standard as far as boy’s love plots go centering around Setagawa ( a high school student ) and his mentor and crush Kousuke. During one of the later episodes of the series, Kousuke’s somewhat overly protective friends including one of his stylish female associates decide it’s a great idea to plant seeds of doubt in Setagawa’s mind. Keep in mind, Setagawa comes from what may be one of the more tragic of backgrounds for a mainstream boy’s love character that includes him being a former member of a gang, a neglectful mother and him struggling with the fact that he is in love with a man that’s easily 10 years his senior. It’s actually such a turn from the heart of the series that it took me a while to get back to it: I felt Setagawa’s betrayal and resented the show for using such a cheap trick for the sake of plot advancement.
The Woman, Pious Saint
On the opposite end of the spectrum is the woman as victim and saint. This one is strange at first because it makes you wonder why it’s such a bad thing. Isn’t it good after all of these examples of women who are bad that a woman can be good and pure? Well, here’s why it’s a problem: it removes a woman’s agency and choice. A noted example is Lies are a Gentleman’s Manners where Dr. Haskins’ wife is absolutely oblivious and in the dark about just how much of a tool her husband is. Dr. Haskins is as garbage of a garbage person as you can get, he’s been cheating on his wife since before they were even married and in one of the best parts of the manga, Dr. Haskins is entwined with his polo partner: Danny, who mind you is also engaged to a lovely woman; all the while, Dr. Haskins refuses to acknowledge the commitments either men made to their respective future wives and during their time entangled, Danny’s fiance is looking for him, calling for him and she almost catches them in the act and while Danny struggled to stop the encounter, he didn’t want to be caught. During the whole thing Dr. Haskins continues not only egging Danny on but actively stopping any of his partner’s protests towards the act. It’s selfish and terrifying. This sets up one, Dr. Haskins as a tool (we’ll pause here for people saying he’s gay and just trying to live his life but cheating is cheating) and that his wife can do no wrong as she is during him cheating with Danny which is alluded to be one of many times, is conveniently out of the country . What’s even more tragic is that Dr. Haskins is a loving family man on the surface despite his affair with the series protagonist, Johnathan. One of the most interesting scenes in Lies are a Gentleman’s Manners involves Johnathan meeting Dr. Haskins’ wife and daughter and she is nothing but gracious and loving and treats the starving college student to a lavish ice cream sundae. She seems totally unaware that her husband is a serial cheater and she praises how loving her darling is despite her constant traveling for work.
This is tragic. We see a woman who is so in love with her husband that she cannot see what is in places a very obvious lie. There are chapters in the manga where it doesn’t even seem like Dr. Haskins cares much about hiding his torrid affairs from his doting wife and robbing women of agency is a huge issue in any narrative. At least if she knew about the affairs, it would still be tragic but it would either be her choice to stay or her choice to leave: both automatically give her more power in a narrative that is strongly run by one man. And yes, it isn’t her story Dr. Haskins being married is a huge part of the story. And his wife isn’t even given the chance to be an obstacle like Lizzie from Black Butler is; she’s just sort of there and she does her best to be supportive and kind. She does eventually become a bit of an obstacle, Johnathan does feel immense guilt after meeting his lover’s wife but not enough to stop sleeping with Dr. Haskins as a means to achieve his goals.
I’m going to take a moment here to address that pin I’m sure all of you have of:
Well, it’s boy’s love. What do you expect?
Here’s the thing. I know plenty of boy’s love stories that feature almost zero women entirely, especially if all they are going to do is be blocks of wood or literal obstacles to plot. Fumi Yoshinaga is an excellent boy’s love mangaka and many of her works either feature no women at all or they are relegated to supporting roles which means they cannot ruin the plot. Even Yoshinaga-senpai’s most noted female character in Antique Bakery appears for an episode and vanishes after dropping a bomb on the plot that is neatly wrapped up within the same episode she appears. Kyo Kara Maoh features several female characters that either push the main pairing together or are there to support the other main characters and not a single one is an obstacle to plot: some are antagonistic but none ever grind plot to a stop.
And here’s why we’re doing this: readers hold onto that misogyny and perpetuate it. I’ve been reading shonen ai for longer than I feel comfortable admitting as well as just shonen anime in general and years of women being irksome plot obstacles sticks with you. Even now, if you’ve been blessed or cursed to read any of my fiction, you can practically see me struggle with writing female characters that aren’t either aggressive Mary Sues or utterly useless pieces of furniture. It would be one thing if that internalized hatred simply stayed on the page but it leaches into other aspects of life. It forms and informs casual sexism and keeps old stereotypes afloat through confirmation bias. It fosters a complacency that means we don’t challenge the norms of female characters and thus create a feedback loop that perpetuates all the things we hate about them and quells any desire to change them for the better.
What’s even more fascinating is that many boy’s love novels are written by women who seem to hate or are irked by women; it’s typically the male shonen ai creators that either don’t worry about female characters at all or show them in a more complex light either as mostly supportive or actively antagonistic. And it is almost entirely women who read (indulge) in shonen ai so this harmful message is really hit home.
Challenging female characters regardless of genre is one of the only ways we can continue to hold creators and characters to a higher standard. Having the same message hammered into your head over and over again that just by being a woman you are lesser in a narrative is immensely hurtful and readers deserve better. They deserved to be loved, respected and appreciated. If we can do it for the boys, even in a trashy shonen ai manga, we can do it for the girls.