~*~ Eight of Spades ~*~

Part of this was just a repeat of my usual opinion that there ought to be more girl gundam pilots in general and it'd make for a more interesting group if the Wing pilots are a mixed-gender group instead of a child soldier boy band.

The deeper, stupider thrust, however, is that in light of...gestures everything else about Dorothy Catalonia, I think a modern audience would sit up and pay attention if Dorothy not only had whatever the fuck she and Relena have going on but was also engaging in some profoundly toxic yuri with girl-Quatre. Let the Sanc Kingdom arc be the unhinged girly with the forked brows running 5D lesbian psyops on two peace-loving blonde pretty princesses at once, being twice the sapphic menace she was before. Let her calmly and playfully call girl-Quatre a hypocrite for bearing arms in defense of a kingdom founded on the ideal of all humanity laying down their arms, and calling girl-Quatre beautiful to her face when she defends her decision bravely in a way that makes it clear Dorothy will be giggling and kicking her feet on her bed later thinking about this conversation. Relena being a noncombatant and remaining one is important but girl-Quatre and the combative aspect of their foiling would enable Dorothy to take her place in the toxic yuri pantheon, I think.

I wasn’t taking notes during it, but this is what I remember to the best of my ability; apologies if there are any inaccuracies:

At this point there is more money coming into animanga from overseas markets than from domestic (i.e., Japanese) markets. Companies are aware that for something to get really financially successful, it has to appeal to international audiences.

And most of that overseas money comes from subscriptions to streaming services. Merch / purchase of physical copies / etc make up only a small % of revenue.

Shonen and isekai outperform everything else to a huge extent. So there continue to be lots of these produced.

About half of all recent/current anime views are going to just a few (like, a single digit # of) series. I believe it was: Solo Leveling, Sakamoto Days, Dan Da Dan, Gachiakuta, MHA, and (I think) JJK. Also Solo Leveling by itself gets far more than any other series.

Quote: "Statistically, if your favorite anime from the last year wasn’t one of these, then no one watched your favorite anime"

Note that these are all shonen (except technically Solo Leveling since the original material is manhwa, not manga, but close enough)

Don’t be surprised that these are the series winning awards, even if you don’t think they hold a candle to [insert your favorite anime here] — there’s just so many more people watching these that it’s virtually impossible for any other series to win.

The only series in the recent top 20 that wasn’t shonen demographic or isekai genre was Apothecary Diaries.

Quote: "Thank god for Apothecary Diaries." lol

Crunchyroll has by far the biggest market share of overseas anime viewership, followed by Netflix to a lesser extent. No other providers come close.

The perception among production companies is that Netflix is where people are getting converted from non-anime viewers into anime viewers, and CR is where established anime viewers go.

Average anime watch time among anime viewers on Netflix is 1.5 hours per month, whereas on CR it’s 1.5 hours per day (?!)

Discovery on Netflix is heavily determined by what the Netflix promotes / actively surfaces to users, and that tends to skew towards particular series — likely reinforces that views are going to already-popular series and that new anime viewers are getting funnelled into certain genres.

Netflix doesn't license all that much anime compared to what they could be licensing, so that further skews things. Also, even if a series is licensed to Netflix, if the Netflix algorithm doesn't actively push it to users, no one on Netflix will watch it.

Rating sites such as MyAnimeList tend to be skewed towards a particular type of fan that is not representative of the actual market, and these ratings are meaningless when it comes to actual success metrics. IIRC he said only a few% of very frequent anime watchers actually rate/review things.

He phrased it as "rating things on MAL is not normal behavior" which made me lol

Anime adapted from light novels tends to perform the best compared to anime adapted from other sources (manga, webcomic, games) and original anime. Adaptations from manga is #2; everything else is wayy behind.

Solo Leveling seems like quite an outlier in this regard since anime adaptations from webcomics tend to be among the least popular

The single feature most correlated with success of an isekai was whether the main female character has big breasts and that’s not a joke.

Quote: "If the main female character has big breasts your anime will likely overperform, and if the main female character is a monster girl your anime will likely underperform. Because things aren’t fair."

At one point he was like yes I really do have to go into serious business meetings and present this anime breast data to client companies.

There’s a perception among audiences that pirating animanga that isn’t legally available in your country will prove there’s a demand for it, and lead to it getting licensed in your country, but this isn’t true. Pirating stats don’t actually have much effect on whether stuff gets licensed — because there’s no reliable conversion from people who pirate -> people who will pay to view legally.

Studios get booked for projects 3-4 years out, so stuff for 2029-2030 is getting booked now. There are a lot of reboots/sequels/franchises/reusing-IPs type projects getting booked, just like what western media studios have been doing, because (as with western media) companies want the reliability of IP that is known to be successful rather than the risk of something new.

Because, like, okay. It's 2026. There's rising queerphobia of all stripes--which is undeniably one reason I'm thinking about the lateral violence of it all, and we'll circle back to that--but the media environment of today does still makes it more possible than ever before to find and enjoy queer fiction. And this is critical to what I'm about to say next, so I hope those of us that grew up in times where that was not true can sort of table our thoughts on what things were like when we were kids.

My point it, if I'm an adult who isn't in the closet (and even if I am in the closet, plausible deniability is higher than it was pre-2010 or so!), I can go see a gay movie. I can go buy a gay book. There are members of the community, like kids/teens or people in unsafe situations that might not have that freedom, but at the very least, finding the gay media isn't the hard part for anyone. Heated Rivalry is one of the biggest TV shows of the year (and the books that it's based off have since seen a huge jump in popularity, too), queer romantasy is flourishing, and even classic queer media is getting revamped (pun intended) in series like the Interview With the Vampire TV series. And if, for whatever reason, none of the current professional stuff is doing it for you, Ao3 has approximately 8.4 million M/M stories and 1.7 F/F stories--which isn't the greatest ratio for the femslash fans, but is still nothing to sneeze at. And that's not even getting into the many gay podcasts and audio dramas, self-published books, comics (indie and otherwise), and other, nicher options. Long story short, if you only want to watch, read, or listen to media with prominent gay characters in it, you can establish a very healthy media diet, with everything from fun, trashy romance to acclaimed TV miniseries to weird podcasts to RPG actual plays, and everything in-between. This has very much not always been the case, so it's really cool we're here!

As an aro/ace person I... can't do that with stories about people like me. Like I really, seriously can't do that. I guess if I was content to enjoy less media, maybe, but I love stories, which I'm sure a lot of people on this website can relate to. And I love participating in fandom, too, so sometimes I do want to be into something that's big enough for me to chat about it with other people, or get more than a handful of kudos on my fanfic. So at the end of the day I don't limit myself, and that's honestly a good thing! It's great to be into things about characters who don't exactly share your identities, too.

But like. This year I've bought* exactly one book with an actual, canonically aro and/or ace character in it--the short story collection Tales From the Folly, which is a part of the Rivers of London series and features the aro/ace character Thomas Nightingale. (*I say bought, because I'm yet to actually read it--I'm sorry, Thomas!). That's it. I've enjoyed various other stories, but as far as ones with people like me go, I've gotten my hands on exactly one. And it's not for a lack of trying! There just... hasn't been much on my radar. This is a huge reason I've gotten so excited about Project Hail Mary recently--it doesn't have any canonically queer characters, and the original author definitely didn't intend to write the main character in a way that resonated with so many aro/aces. But it's a story without any canonical romance of any kind, where as a result, I can watch a fun movie and pretend for a little bit that Ryland Grace is like me. There are so few aro/ace characters that most of what we get. Playing pretend.

This is where I think some of the wires are getting crossed. When people hear someone like me say "I'm really exhausted by all the emphasis on romance and shipping in fandom," I think what some of you are hearing--because it's historically been true, and we're at a scary time in the world where it feels more and more like it's threatening to become true again--is "I want there to be fewer gay stories." When what I'm really saying is "I want there to be more aro/ace stories--or at least stories where I can pretend the main character is like me." And to even further hamper understanding, when aro and/or ace folks say we want stories about people like us and we hear other, allo queers object, what we aspecs often hear is "I think people like you aren't worth telling stories about"--even though many of you have valid reasons for liking the stories that you do, too.

I think that those of us who belong to older generations (especially millennials and above) can all probably relate to what aspecs are experiencing here on some level. There was a point in time where gay books were extremely limited, and gay characters in TV and movies were unheard of. Even as things crept in a more progressive direction, the Bury Your Gays tropes meant not everyone could enjoy the stories those characters showed up in. That was really hard for a lot of people, and I never, ever want us to go back to that. But I do think it's important to acknowledge that gay media just isn't at that point right now. Media with actual aro/ace characters in it.... kind of still is. It's different, because society is in a very different place, and also cishet people have historically demonized aromantic and asexual people with very different tropes--the heartless villain incapable of love, the cold lover that the protagonist abandons to be happy with someone else, the boring stuck-up prude, etc. And there are people, especially in the indie sphere, who are making some good stuff. But at the end of the day, I have a lot fewer choices than you do. Which is why it really hurts to get told that my headcanons and readings of canon--which are most of what I have--are actually problematic.

Anyway. None of this is groundbreaking. It's been said before, by people more eloquent and more persuasive than me, and it'll probably be said again. It just feels worth reiterating, considering some of the blowback I've been getting to expressing this sentiment. Because I really do think a lot of us want the same thing--for everyone to be able to enjoy whatever kind of stories they like most about people like them. (Without losing sight of the fact that media can be a great way to understand the experiences of people of other experiences, of course). When the scales are so unequally weighted, however, it gets really messy to talk about.