The Webcomics Weekly is back in your life. This week we go to the ill defined not-so-vaguely orientalist fantasy kingdom of Calaveras and their titular crown prince who has problems. On one hand he has this hot hunky bestie. On the other hand he has a bombshell princess he must marry. What’s he ever going to do?
Osora
Episodes 1-3
Schedule: Thursdays
By Tonirenea(art and story), Tyler Beckett(editor)
Reviewed by Michael Mazzacane
“Osora” poses an interesting question that my stupid brain is totally here for. It also presents a host of aesthetic choices that, while not technically “bad”, leave me wonder if that kernel of interest will be developed into a thoughtful narrative going forward. It is still early going and the comment section has made it known that in transitioning from canvas to a licensed original there has been some expansion and rewriting from the original – which I did not know about prior to this – so maybe things will get there in time.
At the center of “Osora” is the monarchy of Calaveras and its crown prince the titular Osora. Osora is introduced to us in what can only be described as the romanticized queer version of Feyd-Rautha Harkonnen’s introduction in Dune: Part Two. I describe this as “romanticized queer” not to imply that the introduction of Austen Butler in that film isn’t queer coded to all get out, but to instead emphasize how it presents a certain kind of queer coding. Where as Feyd-Rautha’s gladiatorial display is laced with sadism and domination, Osora’s equally worked fight with best friend Arias Arguitrez is sutured by playful double entendre. They are roleplaying, in every sense of the word, combat together. Toni Renea’s art is at its best in this first episode weaving together their choreography like foreplay struggling to see who tops first. Which only serves to tease Osoroa resulting in an ambiguous and thus unsatisfying ending.
There is a nonchalance with which Toni Rena presents the desires of everyone, that is appreciated. It is perhaps too idyllic; everyone is a little too understanding thus far. This understanding actively works against the central drama of this story: the monarchy of Calaveras. You see, Osora is a transman. Which his Father, the king, is cool, naming him crown prince after all. And with that station comes certain expectations like political marriages, in this case to the Princess Catalina of the neighboring Galino kingdom. The Princess has also been read in on the Calaveras family secret, and is similarly supportive for Osora for who they are. Marriage, however, forces up certain discourses of biology, the discursive limits of sex, and how those work together to produce a monarchy. None of which is has been dealt with in a particularly thoughtful or nuanced manner at the moment. “Osora” is a queer text, I want to throw some queer temporality and Halberstam’s Queer Art of Failure at it so bad. But there doesn’t appear to be space for that given the romanticism that is on display. I was giving content warnings about homophobia and there isn’t any, unless you want to go on an extended theorization of how monarchies are inherently heterosexist.
Toni Rena seems to be playing straight (pun fully intended) by romantic genre conventions. Which isn’t a bad thing. The dynamic between Arias and Osora is the best execution of character in this strip thus far as Rena uses Osora’s POV to highlight the ambiguity in Arias statements. Was he just joking or is he willing to go runaway with his prince? The Princess comes across like a slightly more developed air head, she’s sweet and not actively mean, but the ditzy Princess gimmick is one note. Osora’s observant sister is more nuanced with less panels and dialog.
“Osora” is a fun read. The art isn’t bad, it’s reminiscent of Olena Minko’s work but also has the panel variety and staging of Minko’s comics too. I just see so much potential and right now it’s a saccharine straight love triangle – with the threat of a magical war between humans and demon looking folk.
