stuff

SANKAREA #04//
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SANKAREA #05//
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LULUCO #07//
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LULUCO #08//
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LULUCO #09//
this is what i wish Dead Leaves was
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LULUCO #10//
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LULUCO #11//
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LULUCO #12//
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LULUCO #13//
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AKEBI #09//
*"seeing someone like Akebi makes me want to write about people like her"*
this line towards the end summarizes the series; a work of constant observation of girls loving girls. Akebi when she observes the minutiae of her classmates' reading; her bookmark, when she's finished, her smile after putting it away. the girls at the mall each observe and compliment each other lovingly, in details like hair trims and nail polish. they are constantly observing and interpreting but not judging because the feminine exists solely through their own female lens here.

that aforementioned quote is interesting from a male author then. can we safely say that *Akebi-san* is the male gaze re-appropriated through Miyuki Kuroki and Rino Yamazaki's perspective? is this a deliberate or incidental feminist W? i don't know but this show is damn good
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AKEBI #10//
we share the character's perspectives through point-of-view shots, participating in the subjective observation of the other feminine. this gaze interprets and changes per the relationship to its subject; in love we are curious, admiring, and loving. in this series, however, we have not yet before seen the gaze manifest enviously [(juxtaposition between aroused and envious)](https://i.imgur.com/YMfz19Y.jpeg). Shijou examines herself first and in the idealistic image of slender body types surrounding her she deems herself a failure. the cascading shame builds up as Shijou focuses on Akebi who reveals more of her contours; the skinny arms and flat stomach. those must be nice.

Shijou looks at a recording of herself cheering next to Akebi — observing herself separate from herself — and decides she simply needs to work harder to co-exist with the subconscious idealized image. when she rolls up her shirt and sleeves I understand this is supposed to be the optimistic reconciliation of her body issues, that Shijou can do and exist as the skinny Akebi. but it's a slap in the face to me, a masculine and bulky person who does not exist in this image, because simply 'working hard' doesn't resolve anything.

being fat, bulky, or masculine are not bad things. these things have gradually been made and interpreted as bad as capitalist design formed hegemonic beauty standards with which we judge feminine presentation. every waking second of our life the constant barrage of image, whether it be through advertisement or representation in media, made us internalize that slender is perfection. there's nothing wrong with being heavier, so Shijou 'working hard' is not a positive resolution because there was nothing to work towards. 'working hard' places a subliminal blame on the troubled individual, but her body is fine. 'working hard', subsequently with a montage of her engaging in sports, implies that she can simply try to participate in misogynist beauty standards. that she can co-exist in Akebi's image, but in the destructive hegemony there is no such thing.

that's a shame because the first 18 minutes feature some of the series' most creative and dynamic storyboarding efforts from Eri Irei, whose Nijigasaki debut impressed with a similar penchant for unique perspectives and interpretative POV work. the first half boasts a supreme comedic rhythm as it goes from joke to funny drawing and again, until it breaks into a genuinely emotive second half. it's a shame the script lets down there but this is once again a refreshing and impressive outing for the rookie Irei, so I'm excited for more
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NARUTO #01//
it's archetypical and played out but you can immediately recognize why *this* is the blueprint; its charismatic and especially sympathetic towards Naruto's disenfranchisement to the point it's more concerned about Iruka-sensei's approval than him getting stabbed to death. simply raw as hell when Naruto overcomes his struggle by cloning himself a thousand times. excess potential is my favorite shounen trope. whatever mediocre comedic streak or flashback scriptwriting — it alludes to the swing twice in the introduction episode — ep1 suffers from it circumvents through good drawings (narutosakuga is real) and Hayato Date's expressive boards. godfather of modern shounen for a good reason, even if the Demon Slayers of today have refined its formulae.
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