By: Peggy Sue Wood | @pswediting

Water and fluidity are often used as metaphors when discussing some nonbinary or non-conforming gender identities because they are both characterized by their ability to take on different shapes and forms. Water can exist as a liquid, a gas, or a solid, and it can change its shape and form depending on its environment. Similarly, some people who identify as nonbinary may feel that their gender identity is not fixed or static but rather as something that can shift and change over time, depending on the person, circumstances, and, potentially, the context.

Using water and fluidity as metaphors can highlight the idea that gender identity is not necessarily a binary concept but rather exists on a spectrum that is separate from sex-based distinction. Just as water can exist in various forms and take on different properties depending on its state, gender can also be multifaceted and exist in a range of expressions and identities. At least, that is how I have come to understand this concept over the years through my interactions with nonbinary identifying peoples and research/analysis reading in psychological journals. With that said, this a rather new concept that is still being explored beyond the sciences and politics through art and media.

Right now, there are several manhwa currently exploring this idea of gender as a fluid concept (i.e. constantly changing or apt to change) in societal terms, two of which I think are worth mentioning here for those interested. These are Daughter of the Spirit King, currently available on TappyToon, and Spirit King Elquines, currently available on Kakao.

In both works, the main characters are spirits—spirits that are defined as genderless beings who may or may not take on masculine and feminine traits. The genderlessness of these characters may be rooted in cultural or religious beliefs, such as in Taoism or Buddhism, wherein spirits and other supernatural entities are often considered to exist outside the constraints of gender, but regardless of the roots for the idea of genderless spirits, the stories themselves defined them as nonbinary and as beings which exist beyond the norms and conventions of the physical world.

Yet, the genderless main characters of both works assign themselves a gender. Haein, from the Daughter of the Spirit King, calls herself a girl despite many viewing her as masculine. Meanwhile, Elquines, the title character of Spirit King Elquines, views himself as male despite many perceiving him as female. Their respective choices in identity are regularly brought up in the works, and there is consistent commentary by other members of the respective manhwa’s casts on these characters’ clothing choices, identity, and capability based on their image.

Perhaps the depiction of spirits, particularly these water spirits who are picking their gender as ultimately genderless/sexless, can be seen as a commentary on the fluidity of gender and sexuality. By not adhering to traditional binary gender roles, the spirits can represent the idea that gender is a social construct.

These water-based spirits challenge traditional gender norms and expectations by identifying differently from how they look and by acting in ways that are a mix of traditional masculine and feminine assigned “traits,” challenging the often rigid and fixed perspectives on gender and sex within their respective works without being outright in their messaging.

While the intentions of the authors may vary, I believe that the main characters in these works are being used to challenge traditional gender roles and explore alternative perspectives on gender and identity in somewhat subtle yet not subtle ways.

I’m not sure if this is truly the authorial intent of these works, but, regardless, it is an interesting concept to think over and explore. With that said, what do you all think? Let us know!

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Copyedited by: Katherine Cañeba | @kcserinlee