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42 pages 1 hour read

Alex Gino

Rick

Fiction | Novel | Middle Grade | Published in 2020

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Background

Cultural Context: History of Cosplay

Cosplay is the act of dressing up as a character (typically from a movie, book, or video game) and embodying that character while in costume. Designs can range from simple to complex, and the costumes themselves can be purchased or handmade, depending on the creator’s preferences and skill (as well as availability for mass-marketed costumes). Even before the rise of cosplay, costumes had been part of human history for centuries, and several theater traditions are known for single-gender casting. In England, men played women’s roles until at least 1660 when the first woman on stage played Desdemona in Othello (Ziegler, Georgianna. “The First English Actresses.” Folger Shakespeare Library, 22 Jan. 2019); Japanese kabuki began with male and female performers but is now performed exclusively by men. In 1913, Japan’s Takarazuka Revue began performing lavish shows by an all-female cast and is still popular today. Outside of theater, costume parties such as masquerades (or “fancy dress” in Britain) have been common in various European countries since the 15th century (“Discover the History of Cosplay.” Bunka Japan, 30 May 2021).

The first documented “cosplay”—then called “costuming”—was in 1908, “when Mr. and Mrs. William Fell, a Cincinnati, Ohio couple, attended a masquerade ball in costumes depicting Mr. Skygack and Miss Pickles, martians from a newspaper comic” (Sarkar, Patricia. “History of Cosplay.” Geeks, 2024). In 1939, at the first World Science Convention in New York, Morojo Douglas and Forrest Ackerman dressed in the style of the British science fiction movie Things to Come, “and in 1963, the very first costume based off an existing character was debuted” (Barboza, Brianna. “The History of Cosplay.” Game Rant, 11 Nov. 2023). The 1975 cult classic The Rocky Horror Picture Show inspired a new type of costumed representation called “shadowcasting,” a performance in which fans dress as characters from the show and perform in real time with the original production (Sarkar).

Meanwhile, in Japan, manga as a genre has been growing since the 1970s. Shojo manga (manga aimed at young/adolescent girls) has had a strong influence, with their “full-body fashion illustrations for the characters […] [and] their own lines of clothing, stationery, and accessories” (quinnzelcosplay. “Cosplay History: Blending of Cultures.” CosplayerJourney). In the 1990s, a revamp of the now-popular magical girl trope in manga-turned-animated shows such as Sailor Moon also spurred interest in cosplay.

While Japanese fans have been cosplaying since the 1970s, the Japanese term for “cosplay” (a combination of “costume” and “play”) wasn’t coined by Nobuyuki Takahashi until 1984, when he wrote about his experiences at the World Science Fiction Convention for Japanese audiences (Sarkar). The English word “cosplay” was officially added to the Oxford English Dictionary in 2008 (quinnzelcosplay). While cosplay is often associated with Japanese anime/manga, it has been a multicultural global phenomenon.

Rick and Grandpa Ray’s forays into cosplay speak to both its history and its transformation. In the United States, the earliest fan conventions and cosplays were associated with the science fiction genre, represented in the novel by the television show Rogue Space and the Space Con convention. Grandpa Ray and Grandma Rose’s alien cosplays may be a nod to the earliest historical cosplayers, who also dressed as, or in the style of, aliens Mr. Skygack and Miss Pickles, as well as the common science fiction fandoms of the late 20th century—Star Wars, Star Trek, and Doctor Who. Grandpa Ray and Rick’s cosplays for Space Con speak to the enduring love for such fandoms and the community of cosplayers choosing these characters. Finally, Grandpa Ray’s love for female cosplays (while embracing his identity as cisgender) speaks first and foremost to the fluidity and flexibility available to the cosplay community while also referencing theatrical traditions of casting and gender. His skill with clothing and makeup speaks to the performative nature of gender and gender expression and its separation from gender identity. Thus, cosplay is not only a way to express one’s true self but also a way to open one’s mind to other ways of being.

Socio-Historical Context: LGBTQIAP+ in the US

LGBTQIAP+ organizations flourished in the 1970s in the US. When the AIDS epidemic began in 1981, its original name, GRID (gay-related immune deficiency), spurred anti-gay sentiment. To counter this attitude, in 1985, activists began the AIDS Memorial Quilt to celebrate the lives of people who died of AIDS or AIDS-related causes. At 54 tons, it is now the largest piece of folk art in the world. In 1987, ACT UP, a group that sought to raise awareness, protest, educate, and find a cure for AIDS, was founded. The 1994 musical Rent also centers around AIDS and features a cast diverse in race, sexual orientation, and gender. The 1990s saw increased awareness for LGBTQIAP+ people: several prominent celebrities, including Ellen DeGeneres, came out as LGBTQ+. The first Gay/Straight Alliance was created in Utah in 1996 but was quickly banned by the city school board (“LGBTQ History Timeline Reference.” GLSEN, 2024).

As awareness of LGBTQIAP+ people and issues grew, so did controversy. President Bill Clinton signed the “Don’t Ask, Don’t Tell” military policy in 1993, which “prohibit[ed] openly gay and lesbian Americans from serving in the military” (“LGBTQ Rights Milestones Fast Facts.” CNN, 21 Aug. 2023), and the Defense of Marriage Act in 1996, which defines marriage as between one man and one woman. “Don’t Ask, Don’t Tell” was repealed in 2011, and in 2021, President Joe Biden signed an executive order repealing the 2018 ban on transgender individuals serving in the military (“LGBTQ Rights Milestones Fast Facts”). Same-sex marriage would also continue to be a point of contention until the 2015 Supreme Court case Obergefell v. Hodges; the court’s decision made same-sex marriage legal across the United States. DOMA was officially negated in 2022 under President Biden’s Respect for Marriage Act, which protects same-sex and interracial couples. Other recent LGBTQIAP+ rights breakthroughs include the ability to select X for a gender on official documents (2021) and new policies that allow MSM (men who have sex with men) to donate blood (2023; “LGBTQ Rights Milestones Fast Facts”). Previous restrictions were holdovers from the AIDS epidemic.

While the novel Rick rarely veers into LGBTQIAP+ history, Rainbow Spectrum is a likely place where Rick would learn about it, when the students are not planning their Cabaret Night. Rainbow Spectrum’s existence is also a result of LGBTQIAP+ history, in terms of both activism and the creation of a safe space for diverse individuals to be and discover themselves. Mr. Sydney also references this history when he introduces the QUILTBAG+ acronym, which was created in 2006 by Sadie Lee, a lesbian, while interviewing a queer trans woman for an article in Diva Magazine (Lee, Sadie. “Final Call: Kate Bornstein.” Diva Magazine, no. 125, Oct. 2006, p. 114). The quilt imagery, which may be reminiscent of the AIDS Memorial Quilt, which would be especially important to Mr. Sydney as a man dating another man, also speaks to the diversity and unconventionality of the Rainbow Spectrum community. The addition of the + to QUILTBAG also speaks to the ever-growing, ever-expanding community and its inclusivity—in the novel, one of the students mentions their pansexual identity (not part of the original QUILTBAG acronym), while Mr. Sydney himself is educated by the students on the use of the singular “they” pronoun. Even Rick and his family, who are aware of the “LGB” letters, are less aware of the “T” (meaning Rick’s character grows as he becomes friends with Melissa, a transgender girl), and Rick must learn about the “A” (asexuality) on his own. In this way, while Alex Gino doesn’t directly insert LGBTQIAP+ history into the novel, it is still discussed as a basis for the students to learn and grow, with room for them to add to it later. Instead of merely learning about history, they make it.

Social Context: Asexuality/Aromanticism

Asexuality refers to a sexual orientation in which someone does not experience sexual attraction. This identity, like many others, is a spectrum. Someone who is gray-asexual (also “gray-A” or “graces”) rarely experience sexual attraction or do so only in specific circumstances, while demisexuals (“demis”) only feel sexual attraction after forming a close emotional bond with another (“Understanding the Asexual Community.” Human Rights Campaign). Lithrosexuals may experience sexual attraction but do not desire reciprocation or the pursuit of a relationship.

There is no singular way to be asexual (often shortened to “ace”) or any other identity on the spectrum. Regardless of orientation, some may still enjoy sex in its myriad forms, sometimes as a compromise with a partner; some may be willing to compromise occasionally but aren’t very interested in it (sex-indifferent); and others may have a visceral/negative reaction to it or otherwise are unwilling/uninterested in participating (sex-averse/sex-repulsed; The Asexual Visibility and Education Network). This is not to be confused with sex-positive, sex-neutral, and/or sex-negative attitudes, which refer to the portrayal/discussion of sex on a wider, more cultural level (e.g., media), rather than a personal one (e.g., individual relationships; The Asexual Visibility and Education Network). Asexuality should also not be confused with celibacy or abstinence, which are behaviors (involuntary or otherwise) and/or choices rather than a sexual orientation. Also, an asexual spectrum orientation does not preclude someone’s body from responding to outside stimuli because arousal does not equal attraction.

Similarly, aromantic people (“aros”) may fall on a similar spectrum, but for romantic attraction: Aros may feel little to no romantic attraction, while gray-aromantic people may only feel it sometimes or in specific circumstances; demiromantic people may only feel it after forming a close bond; and lithromantics may feel attraction but do not desire reciprocation or a romantic relationship. Aromantic spectrum people do want and can form interpersonal connections, but they are uninterested in romantic ones. Some ace and/or aro people desire queerplatonic relationships, which “are not romantic in nature but they involve very close emotional connections that are often deeper or more intense than what is traditionally considered a friendship” (“Asexuality, Attraction, and Romantic Orientation.” LGBTQ Center, University of North Carolina at Chapel Hill). Partners in queerplatonic relationships are called “zucchinis.” Additionally, “squish” is often “used to identify aromantic crushes; the desire for a non-romantic/platonic relationship with another person” (“Asexuality, Attraction, and Romantic Orientation”).

Representation in the media, however, is less celebratory and often either absent or erased. Given this environment, even in the 2020s, Rick’s struggle to understand and accept himself—much less coming out to others—is unsurprising. While Rick is young, as his family constantly comments, he is aware of how he is different from his peers. Jeff, who is the same age and in the same grade as Rick, is already noticing girls, but to Rick, no matter the gender, the idea of sexual or romantic attraction is off-putting. While Rick enjoys Rogue Space (perhaps a reference to Doctor Who and the titular character’s perceived ace and/or aro identity), he does not have the language to express his differences until he joins Rainbow Spectrum. His attempts at researching on his own are stymied by the Internet assumption that all people experience sexual and romantic attraction; it is not until he learns the word “asexual” (and “aromantic”) that he finally finds an identity that fits him.

However, given the erasure and lack of ace/aro spectrum representation in the media, few people outside of Rainbow Spectrum are aware of asexuality, much less understand or accept it. Rick’s sister, Diane, knows about it but dismisses Rick’s identity, citing his youth. Rick’s parents, while open-minded in terms of the “LGBT” part of the LGBTQIAP+ range of identities, do not understand asexuality and cite Rick’s youth as a reason for dismissing his coming out. Grandpa Ray, who enjoys crossdressing cosplay, is the only one to understand and immediately accept Rick when he comes out as questioning aro/ace. Grandpa Ray understands the fluidity of gender and gender performativity, in part because of his connection to Rogue Space and science fiction, both avenues of exploration, self-discovery, and inclusivity. Though members of Rick’s family don’t take him seriously (largely because of his age), he finds support that will allow him to grow into himself; at the same time, Alex Gino elevates an often ignored and erased spectrum of identities that are both vibrant and valid.

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