Last one!! Mirabel’s design and info!!
(I totally did not forget to post her yesterday-)
Mirabel one of the madrigals i spend a lot of time on! She left 10 years ago like Bruno, just the difference is that she doesn’t say in the walls, she stays in the attic, sometimes maybe in the walls but her place is the attic. How does she know that no one would go to the attic? Cause no one’s been going in there for years 🤷♀️ sometimes mirabel goes outside because she doesn’t like it to be stuck in the house for too long yk- the reason she left was because she couldn’t handle the town and the family no more :| since she’s been in the attic she has a adopted quiet a few animals, she named the biggest and strongest cat Luisa since she reminded her of Luisa a lottt! She’s pretty lonely in the attics, 5 years ago she was still in contact with one person (her best friend) but she didn’t want her burdens to be on her so she broke the contact. Meanwhile in those years she has made a lot of presents for her family, they always questioned from who they were from (some even believe it’s from her) they never complained about the presents though.
Currently she loves spoiling Dolores with presents n all that stuff since she’s talking to her!! (Yessss she’s senorita mariposa) she feels bad for lying but it’s needed.Her clothing is also some project that has been going on, she lost her earrings in the years and couldn’t find it afterwards (Isabela was the one who found it and that made her hopes just go higher that mirabel is alive) she struggles with sleep because her schedule is messed up fr- She made her ruana plain and long on purpose! Since it’s a cover, and it keeps her (mostly the cats) warm.
She misses her sisters a lot, seeing them suffer makes her so upset. Sometimes she just wants to get out of the walls\attic and hug them till forever, but she knows that she will never do it. Plus her sisters aren’t the only ones she’s missing, her little sobrinos are also important to her, she misses them too, even if Dolores has never meet her mirabel already feels bad that she hasn’t been there at her birth. Out of all her sobrino’s she misses Camilo a lot, he was like a little brother to her and she feels so so so guilty to leave him. She hates to see him in his current state right now and she would’ve done anything to change it, if she only had the strength.
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Bleach’s Issue with Queer characters (1/3)
So, someone recently(when i started this draft anyway) left a kind of incoherent rant on one of my posts. It wasn’t actually related to anything I’d said in the post, and just came across as disjointed babble, so it didn’t warrant a direct reply at the time. But it did bring up a subject I would actually like to talk about:
How Kubo handles gender queer characters.
I think it’s a little easy to look at the most glaring cases, come to the conclusion that he doesn’t handle representation well, and leave it at that. That’s valid. And he’s clearly not well versed or tactful in how he portrays these characters, and it’s really not that unreasonable to judge him for it. But I also think there’s more going on with it than that really accounts for, so let’s pick at it a little...
By and large what Kubo does is some pretty by-the-books queer-coding villains, and what amounts to casting effeminate men in adversarial roles. In the big picture, it’s not a good trope to be falling back on: it comes from a bad place historically, and even if Kubo doesn’t mean anything bad by it (and I’ll get into why I think he genuinely doesn’t) it contributes to the momentum already behind it that other, less well intentioned creators and readers inevitably stand to do more direct harm with.
The earliest case of this is actually from Zombie Powder. Very early episodic villain, Ranewater Calder is a youthful and even girlish looking man who is actually an old man sustained by a youth restoring drug. He’s a villain of the week type, so the fact that he’s pretty and evil is literally all there is to him. Moreover, his fixation on youth, his vanity, and his deception (he pretends to be a frail, dainty victim at first) all link directly to his moral character. Although Calder is himself never made out to be gay, the archetype he's clearly based on is a pretty classically homophobic characterization at face value
But even here it’s not totally black and white...
There’s a snag in that Kubo’s not writing some 1950s American pulp novel where the perils of homosexuality spell self-destruction or divine/dramatic irony on the loathesome villain; he’s writing a shounen action manga, and it operates on the Rule-of-Cool first and foremost. Calder isn’t a vehicle for moral preaching by religious conservatives, he’s a highlight character taking up valuable print space in a popular comic. He’s attractive, he has a cool name, he has a cool weapon with a unique fighting style, and even his vanity and deception aren’t there to make him unappealing, they’re there to make him compelling.
And herein lies the root of Kubo’s problem. He just likes having cool characters, and he crams them in where ever he can fit them, and that often means in villain roles. Moreover, although some characters get more vilified than others, even within the scope of villain roles, not all of them get to stick around long enough to be developed as either something other than queer and villainous, or to get the full turn around. After all...
Yumichika was a villain at first.
And you’ll noticed I hesitated just now at calling it a “turn around” and not a “redemption” or “turning over a new leaf” because frankly, the Shinigami never actually changed alignment. They were circumstantially the villains of the Soul Society Arc until Aizen turned on them to be the bigger "real” villain. Technically it was Ichigo & co. that changed alignments from fighting against the Gotei13 to fighting with them. But relatively aside, Yumichika became a good guy and his favorable portrayal got to outweigh his villainous introduction.
Speaking of which, there’s not a whole lot to go over with it, but Yumichika’s original appearance pretty closely mirrored the profile of Ranewater Calder’s bit in Zombie Powder: a kind of “sissy” prettyboy is obsessed with his looks, and other than just being a guy with a sword pointed at the established heroes making him a villain, that vanity and narcissism make them mean, judgy and vindictive.
But Yumichika came back, and stuck around, and frankly became something of a fan favorite. And I think this particular development says a lot about how Kubo looks at these situations. You’ll notice, he didn’t actually have to change Yumichika’s character much to shift him from villain to hero. Yumichika gets a little less prickly, but he’s still vain and it’s not even something that anyone ever frames as a problem he needs to work on. In fact, the introduction of his shikai brought into play a new facet of his vanity: Deception. So we’re back to that Ranewater Calder framework, where the prettyboy has something to hide with his looks, but in Yumichika’s case it’s shown as an almost endearing quality. He hides his sword’s powers, a reflection of his true self, to fit in. But this isn’t shown to be a thing to pity, his willingness to sacrifice a part of his own identity is portrayed as a kind of noble restraint.
Now, granted, I don’t think those elements all play nicely together. (In fact, the nobility of his self-restraint is a very dangerous thing to uphold as a virtue) But when it comes to trying to draw a line between message and intent, I think the most pertinent thing to consider as context isn’t actually the villain or hero dichotomy, or even your own personal feelings about the themes in play, it’s the attitude ("attitude" as different from “intent,” mind you) of the creator towards his creations: Kubo seemed to enjoy making Yumichika.
He had fun with his design (the feathers and the weird sweater collar thing) He had fun with the sword, with giving him a secret power. He had fun writing his vanity rants. He didn’t have to have Yumichika, he didn’t have to bring him back, and he didn’t have to add to his character, but he did. He invested his own time and effort and space on the page to him and to making him interesting to have around.
But like I said, Yumichika’s the lucky one. He came in early, got to have a comeback, and had time to stick around. But consider that when Kubo was floundering around trying to figure out how to salvage the mess that was the late TYBW arc, he didn’t need to bring back Arrancar, and he didn’t need to bring back the ones he did. (in fact, only the Privaron even make sense in-world, Luppi and Charlotte weren’t convenient choices, they were just Kubo’s personal picks.) And when he did finally get around to cleaning up the Sternritter? Bazz-B was an obvious choice to keep, sure (following that Renji/Grimmjow mold of the hotblodded rival who bucks his own organizations rules) but Giselle and Lilttoto? That was Kubo playing favorites.
Luppi was so short lived, it’s hard to really say anything about him. He was basically just reusing notes from Yumichika’s first appearance, which again also refer back to Ranewater Calder in Zombie Powder for basic aesthetic and demeanor. (It’s actually kind of weird that Yumichika never really had any kind of dynamic with Luppi when they fought.)
Side note here, but Kubo really loves to build some of his recurring character types around a certain kind of scene or dynamic. Byakuya and Ulquiorra both do this thing where they’re supposed to be the stoic unflinching types, but they actually get shocked and surprised almost constantly. Kubo seems to be going into it with the mentality that he thinks it’s cool when the character who predicts everything and always has everything under control, can’t predict something and doesn’t have it under control, and just reverse engineers a stoic person for the purpose of having them “break character” later. In this vein Kubo seems to have a real love of very pretty characters shifting into a kind of sinister “ugly mode.” It wouldn’t serve his purpose to just have them ugly or obviously meanspirited all the time, the ugliness has to be served up in its reveal as that “breaking character” moment, even though that “breaking” moment is itself the core of the character.
Not to get too heady about this little observation, but it honestly feels like something that applies even to Kubo’s broader writing habits; wanting the payoff of a twist, and planning said twist first but then reverse engineering the supporting ruse only as a matter of course. Just a silly little thought...
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