Christopher Farris and Steve Jones discuss the appeal of anime romance starring not-so-human guys, gals, and tentacle pals.
Disclaimer:The views and opinions expressed by the participants in this chatlog are not the views of Anime News Network. Spoiler Warning for discussion of the series ahead.
Chris
Steve, trick-or-treating season is right around the corner, and you know what that means! It's the perfect time to talk about our favorite on-screen anime treats!
...man, I gotta remember that when anime characters say their love interest is lookin' like a snack, there's even odds they mean it literally.
Steve
That's right, Chris. Humans have been concocting tales of courtship for thousands of years, and while there's nothing wrong with going back to the classics, we often crave more. We hunger for new textures and flavors. We thirst for taboo titillations. In other words, when it comes to romance, sometimes you gotta get weird with it.
This just-kicked-off Fall season brings both the af-vore-mentioned This Monster Wants to Eat Me, as well as the Furry/Human love story With You, Our Love Will Make it Through. With both you and I having been known to enjoy the odder side of these kinds of stories, that's some solid springboarding for discussion of...let's be classy and call it "niche" romance at the moment.
Look, we kicked off this year with the incest column, might as well go full "Only God can judge us."
To paraphrase the intellectual luminary that is drill: none of us is free of sin. And certainly, I don't know if two new series constitute a bona fide pattern, but I'd agree that something interesting is happening recently. Romance is a perennially popular genre in anime (and beyond), so the sheer volume of it means it can't all fall into the usual boy-meets-girl patterns. However, yuri cannibalism airing at the same time as a high school furry romp is a phenomenon that demands further study.
Also, not for nothing, the yuri vore series is coming right after the end of modern boy-meets-monster masterpiece The Summer Hikaru Died's first season (with a second on the way). So it's the perfect time to provide fans of this material with a reason to go back for another helping.
And that pretty much lets us jump right into one of the core points of appeal for this kind of stuff. That is, queer people who are societally seen as "monsters" embracing that in fictional accounts of how they act out their love.
Reclamation is a complex topic that I can't pretend to know everything about. But I do know that I am still reeling from the season finale of The Summer Hikaru Died. I spewed out about a thousand words on it already, and I could easily go for at least a thousand more. Just aching over the sheer amount of love and pain shared between the two leads, and the big questions about what, exactly, defines humanity versus monstrosity.
And I mean, when you have a society that is constantly hostile to the idea of queer existence, let alone queer love, there's a kind of catharsis in the act of embracing being othered.
There's freedom in rejecting your humanity if the rest of humanity would deny it to you. As I've mentioned before with Hikaru, the monstrosity of it all lets it embrace the unnatural as metaphorical depictions of queer intimacy. It's what makes acts like Yoshiki feeling around inside Hikaru's insides or Hikaru literally carving a piece of himself out as an act of trust to Yoshiki feel so visceral, so raw.
Okay, not that kind of raw, but my point is you can't get to that kind of level with regular-ass real-world romance.
I will never look at raw chicken the same. People can and do obviously write stories and romances that grapple literally with how much reality sucks if, for instance, you're a gay teen growing up in a backwoods mountain town. However, the beauty of fiction is that you don't need to be literal. In fact, I find that techniques like metaphor, symbolism, and abstraction usually make me connect with a work even harder.
It provides a way for us, as viewers, to more poetically connect our own experiences and feelings to the acts being allegorized. Hikaru, baring his insides to Yoshiki's touch, connects to something many of us have felt, be it physical or emotional, which is why it can provoke the reaction it does.
Similarly, the abstractions of This Monster Wants to Eat Me and Our Love Will Make it Through would seem to provide space for viewers to project their own experiences with marginalized relationships and get similar reactions. Granted, with both shows yet to premiere as we're writing this, the "hows" are unclear to anime viewers, but look, there's a whole treatise on mermaids and eating as an act of eternal love just waiting to be written in some reviews, I'm sure of it.
The connection between love and food is the basis of many a fascinating and/or toxic romance, so I'm particularly interested to see what This Monster Wants to Eat Me does with it. Plus, the fellas had their fun with The Summer Hikaru Died, so it's only fair for the girlies to get their turn with some delicious innuendo.
On the "gentler" side of this, you have something like Delicious in Dungeon, which isn't really a romance series (even if it is definitely about Marcille courting Falin) but is concerned with eating as a multi-faceted literary device. And on the harsher side, you have the TV series Hannibal and the way it handles the relationship between Hannibal and Will, which isn't an anime but might as well be.
I know for a fact I've remarked in this column before on the inherent intimacy of eating someone (which is probably why our esteemed editors keep recommending these kinds of assignments within earshot of me).
Personally, in my entirely unbiased opinion, I'd label Call of the Night as a fellow "weird" romance. Vampire romances are common enough to sustain their own micro-genre, of course, but I find CotN's specific approach to be pretty unique and orthogonal, even if it is fundamentally about a dude and a hot bloodsucking lady.
Yu and I already touched on the inherent queer otherness of Call of the Night (and Hikaru, hey!) in this summer's offerings. It's definitely built on the odd arrangement of Ko and Nazuna's relationship and how it slots into the "niche" appeal here. I mainly bring it up alongside fellow stories of sapphic suckers like VLAD LOVE and Mayonaka Punch to illustrate the way these vampire stories can serve as a slightly more savory on-ramp into these oddities.
That is, whether it's falling in love with a people-eating mermaid or a big, burly, beast-man, a lot of the appeal in some of these sorts of romances is trusting yourself to beings who could or would easily end your life. In a passionate way, of course.
And I think that heightened and fantastical danger makes sense because vulnerability is such an inescapable part of being in a relationship. When we use fiction to explore those feelings, that process naturally hones and enhances the tenderest bits.
With You, Our Love Will Make it Through also seems like it will incorporate broader sociological ambitions with its delineation between humans and beastfolk, as well as its conspicuously walled city setting.
But where BEASTARS's all-furry cast let it map out those allegories in one set of terms, Our Love Will Make it Through's incorporation of regular humans positions it to do its own thing. Also, not for nothing, it also immediately clarifies that a lot of the appeal is toward people who would like to smooch a big, sexy, dog-man.
Maybe this deserves to be its own column topic at some point in the future, but I feel like there's a lot to dig into when it comes to the history of furry anime. Because pretty much every example I can think of is as serious about its grander social commentary as it is about what it would feel like to hug a cat girl. And I mean, you can (and must) go all the way back to Osamu Tezuka if you want to talk about that.
I feel like the deeper we get into this subject, the weirder the unlicensed stuff we're going to be asking for on the sidebar. At least the commonality of furry material means it and its offshoots are available to people. I don't know if that quite includes animal-activity adjacency like all the Omegaverse manga we get over here, but it definitely includes plushie parallels like Is My Love Strange from that Young Magazine US issue a month back, to say nothing of our totally topical fave, Gleipnir.
I hope our readers put their strangest faves in the comments, because I want a reading/watching list of stuff at least as depraved as Gleipnir. That really hit the sweet spot of an absurdly abject premise combined with an insane core relationship.
Gleipnir works because it is committed to a lot of what worked about the stories we've already checked off, even if it was a lot more campy than, say, The Summer Hikaru Died. Monsters stand in for those who feel ostracized, with otherworldly actions abstracting intimate acts. I mean, just barely abstract, though, as Claire entering Shuichi is pretty clearly about him getting pegged. Again, these things are so often built on trust.
Plus, to expand on that point in the most pretentious way possible, these are more broadly about deconstructing the basic assumptions of the human experience. And by that I mean gender. Gleipnir is absolutely about Shuichi becoming a sexless object that Claire penetrates. The Summer Hikaru Died uses extremely similar imagery to communicate Yoshiki and Hikaru's sexual experimentation. These are bold choices that stand out, decency and taste be damned.
In fact, with the heightened scrutiny and increased censorship we're currently witnessing throughout the world of art, you could say it's more important than ever to create and support weird and off-putting works.
I agree. Gleipnir came out in 2020; it's high time for a follow-up season.
The abstraction that accompanies these "weird" romances does lend itself to denser societal and psychological themes. But it also paves the way for stories to cut loose and have fun with their own audacity while also being a bit more freed from said scrutiny. Which is to say, speaking of seemingly sexless objects that get people inserted into them, let me use this chance to bring up robo-boning.
I think the vast expanse of human sexuality is endlessly fascinating. In the real world, it is (unfortunately) quite unlikely that any of us will ever get the chance to make out with a robot 50 times our size. Yet with the power of imagination and the collective passion of an anime production, our brains will bring this tableau into existence, adorned with prominent male nipples and luscious metal lips. That's enough to bring a tear to your eye.
Like I said in reference to the furry/human show: facilitating these fantasies is as part and parcel to the experience as the denser psychological stuff. This is the part where I expose myself and bring up that, as a known Transformers fan, I've got my own robotic romps I'd be begging to see licensed, including J-Decker from the Brave series, which bestows the robots with handsome looks that would do Obari proud and grants them girlfriends accordingly.
Also, Shonen Jump's My Boyfriend is a Metamorphormer one-shot from 2023 really oughta get translated, if only because this was the story that made me question if someone sitting in the driver's compartment of their cybernetic significant other counted as vore-adjacent. Just to bring things back around to previous subjects.
See, like vampires and furries, it's impressive how many of these niches can count as sub-genres of their own if you dig around enough.
On the subject of trysts between humans and non-humans, and on the additional subject of toxic romances, I'd like to shout out the original Drakengard. The player character Caim makes a pact with a dragon named Angelus, who berates Caim for his bloodlust for most of the game. However, they're both homicidal maniacs of a feather, and by the end, there's a genuine, loving, and arguably romantic bond shared between them (as well as a body count in the thousands). This is hardly the weirdest nor unsavoriest element to be found in a Yokō Tarō game, but it's another facet that makes Drakengard so unforgettable to me.
Doin' it with dragons is another one that could be its own subsection (hey, that Final Fantasy Tactics remaster just came out, so go ahead and play Beowulf's subquest if you want to see him take the coward's path on that subject!). And it highlights how human-nonhuman hookups make up so many of what we consider out-there romances—not with no good reason! But that belies that these sorts of lopsided, trust-based danger romances work between ostensible humans as well, as in series like The Executioner and Her Way of Life demonstrating how wanting to murder someone can be just as romantic as wanting to eat them.
Plenty of good examples of this, obviously, but NANA and Michiru are on my mind because we just talked about these cinnamon buns on our panel.
Violent instigations aside, these kinds of relationships often ring sweet because of how they change the characters. Menou and NANA, realizing that Akari and Michiru might mean that their targeted populations aren't unilaterally murder-worthy, are pivotal points in developing their worldview. They represent the real-world idea that to be loved is to be changed, and sometimes that includes changing your preconceived notions. While also still dedicating yourself to their death in one way or another, at least a little bit.
Since I know we've necessarily been focusing on the queer couples in this situation, I will also acknowledge that Angels of Death does a version of this dynamic too, with ostensibly straight couple Zack and Rachel.
And we should not forget the equally heterosexual Pupa, which manages to blend murder, cannibalism, and incest into its romantic dalliances. What an embarrassment of riches!
*not actually great, but absolutely the only thing like it, which is basically the same thing in this case. Also, another one that's tragically currently unlicensed.
My continued guarantee to our readers is that, as long as it remains unlicensed, I will shoehorn in a mention of Pupa into every column I can justify doing so. And to be honest, I'll probably keep that up even if it gets relicensed. That's how committed I am.
It's like me with Candy Boy, which just barely belongs in here itself.
I'll allow it. If we've learned anything today, it's that a liberal mindset behooves one's consumption of romance stories. I'd hardly be inclined to start drawing lines in the sand now. Unless those lines are themselves another allegory for pining.
There are a lot of out-there romance stories out there, and some of them aren't even based on setups that are physiologically impossible and/or illegal! We've hardly even touched more straight-up fetish stuff like the drooly dalliances of Mysterious Girlfriend X or the surprisingly sweet S&M of Nana & Kaoru (shout-outs, as always, to Jean-Karlo!)
Especially since everyone's mileage is going to vary on whether those should be counted as "niche" or "weird". But that's why anime's beautiful: because this kind of material can sit comfortably on a shelf just waiting to get one-upped by interspecies furry romance or hungry lesbian mermaids.
As someone who still has the entire print run of Sundome on my shelf.
I guess, considering the offerings we're getting next season, I feel like we may finally be approaching the post-Monster Musume world I had once envisioned, in which a monster girl harem would merely be the first step on the road to greener, weirder pastures. It took longer than I would have liked (i.e., a decade) to kick into gear, but better late than never.
Love is an ever-changing expression. As long as we've got megahits like Delicious in Dungeon making mainstream audiences aware of the good words of monster girls and eating your loved ones, I feel like we'll keep getting closer to the revolution you dream of.
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