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Name: Fukuda (福田)
Relationship Status: N/A
Origin: Genshiken: The Society for the Study of Modern Visual Culture II
A friend and fellow history club member with Genshiken member Yoshitake Rika back in high school, Fukuda is a person of few words. She acts as a tsukkomi of sorts to Yoshitake and her other friend Sawatari antics, often responding to them in deadpan.
Unknown at this time, other than that she had otaku conversations in addition to history-related ones in high school.
Genshiken has portrayed elaborate fantasies, some nudity, and implied sex, but Chapter 103 may be the most erotic chapter the manga has ever seen.
At the end of the last chapter, Madarame was headed with Keiko to her apartment. While it was a little unclear (though heavily implied) that Keiko was using this situation to her advantage, all doubts are erased in Chapter 103 as Keiko does everything in her power to seduce Madarame. On the verge of success as she bids Madarame to feel some real skin, they are interrupted by a phone call from Keiko’s boyfriend, who plans to come over. After Keiko casually admits to having affairs pretty regularly, Madarame escapes, though Keiko expects for him to return.
When I say that this month’s chapter is especially erotic, it has a lot to do with the fact that this is the first chapter ever in Genshiken that has been primarily devoted to one person’s efforts to seduce another. Not only that, but this chapter creates an atmosphere of anticipation and sexual excitement through Keiko’s actions and gestures, going one step even further than the last chapter. Everything Keiko does, from her decision to shower to her choice of clothes, from her subtle choice of words that boost Madarame’s confidence to her serious bedroom eyes, implies advancement towards sex… not to mention that they’re in such a confined space. While I’m not typically one to analyze erotic manga (and this doesn’t quite count as eromanga in the typical sense), I would like to discuss the first panel in the image below, where Madarame’s hand is above Keiko’s open sweatshirt after she’s invited him to touch her breasts.
There’s a real sense of tension in the panel, created by its size, the lack of word balloons, and especially Keiko’s expression, which conveys excitement, anticipation, and even arousal. What’s also notable is that this eroticism is different from the fanservice scenes in the anime Genshiken 2 (not to be confused with Genshiken Second Season), which at times were virtually pornographic (the studio that made Genshiken 2 is best known for its work on Ikkitousen and Mezzo Forte, among other things). Instead, in terms of portraying sexual acts, this veers closer to what can typically be found in more adult josei manga in terms of buildup.
When looking at this chapter, I get the strong feeling that Kio Shimoku’s work on Spotted Flower is bleeding into his work on Genshiken. After all, he has a history of sorts with this, as the very first chapter of Genshiken II was made at a time when his latest work was Jigopuri, and characters looked much rounder and more in line with a moe aesthetic. One can think of Spotted Flower as essentially an alternate universe Genshiken where a man very much like Madarame is married to a woman very much like Kasukabe, and it has been an opportunity for Kio to portray adult sexual desire with far more detail than Genshiken is known for. Whether that’s through depictions of nudity, scenes about the wife trying to get the husband erect, or just the general expression of romantic lust, Spotted Flower has distinguished itself from Genshiken by being a more mature and sexually explicit series. Keiko’s interactions with Madarame venture deep into that territory, and I wonder if this will have a long-term effect on Genshiken going forward.
I think it’s useful to compare Keiko to Angela, not only because Angela once attempted to seduce Madarame herself, but that they have much in common when it comes to men. In my review of Chapter 93, I mentioned that Angela and Keiko look like they could be friends, and I think it’s no accident that Kio has portrayed them as both aiming for the boob grab as the lynchpin of their pursuits of Madarame. Both of them are quite experienced with sex, and both are aware that, for guys in general but especially a virgin like Madarame, breasts are placed on this grand pedestal. Keiko is even shown planning to moan erotically as soon as Madarame makes his move as a way to draw him in further, a bit of characterization in a sexually charged scene that indicates Keiko’s understanding of Madarame and further shows that she and Angela are of similar minds.
Now, I think a fair number of people, upon reading my description and analysis of Chapter 103, might feel that Genshiken has hit the point of no return. “Seriously? A scene where Madarame is basically about to have sex with Sasahara’s sister? What is this harem stuff? What happened to this manga?” Interestingly, the chapter features an explanation as to how Madarame finally started being viewed as attractive. At one point, Keiko says that seeing an otaku like Madarame in love with a person like Kasukabe who is (from Keiko’s perspective) completely out of his league actually makes him pretty cute in her eyes. In other words, as Keiko puts it, it’s thanks to Kasukabe that Madarame was able to exude his awkward charms. Not only that, but Keiko is sort of fond of no-good, pathetic types as well.
When thinking about the other characters, Sue, Hato, and Angela, they’ve all been shown to have also come from similar angles, either implicitly or explicitly. Sue’s wild denial that she has feelings for Madarame is the direct result of Saki seeing her kiss him. Angela already had a thing for sou-uke characters in anime and manga, and she began making her move upon learning that Madarame was feeling heart-broken. Hato, why, much of the series at this point is about his growing affections for Madarame’s character flaws, and it was even prompted by him learning about his unrequited love for Kasukabe. Of course, with Keiko it’s not as if she only has eyes for Madarame; he’s but one of many that she wouldn’t mind sleeping with. The fact that not everyone interested in Madarame has the same view of sex and relationships (which is often the case with actual harem anime and manga) is part of what makes this story arc intriguing. I do have to wonder if Keiko’s boyfriend is of a similar personality in spite of his greater financial success (he’s a subordinate of the president of an IT company).
Next chapter will be about Hato, but the question on my mind is, how will Sasahara react when he finds out about this?! I’ve read comments where people think it’s all over for Keiko x Mada, but I get the feeling that she’s not quite yet done.
Name: Sawatari (沢渡)
Relationship Status: N/A
Origin: Genshiken: The Society for the Study of Modern Visual Culture II
One of Genshiken member Yoshitake Rika’s friends from high school, she attended the same History Club as Yoshitake. She enjoys challenging Yoshitake with history trivia, and is still good friends with their other history club member Fukuda. She appears to have an outgoing personality similar to Yoshitake’s.
Unknown at this time, other than that she had otaku conversations in addition to history-related ones in high school.
Name: Mimasaka (美作)
Relationship Status: Single
Origin: Genshiken: The Society for the Study of Modern Visual Culture II
Mimasaka is an old high school friend of Genshiken’s Yajima Mirei. Quite timid, she greatly admires Yajima and will cling to her when troubled. To the surprise of many, Mimasaka is a big fan of Yajima’s drawings, not in spite of their lack of quality but because of it, claiming that it shows Yajima’s persistent personality. Mimasaka also does not view crossdressing Genshiken club member Hato Kenjirou fondly, as she senses something funny about his relationship with Yajima.
After Yajima mentions that she accidentally saw Hato naked, Mimasaka exclaims that Yajima would have to take Hato as a “wife,” implying that Mimasaka created an imaginary situation with a male Yajima and a still-crossdressing Hato.
As suggested in the last chapter, Madarame and Kugayama visit Keiko’s cabaret (i.e. hostess) club. Though Keiko at first turns up the charm typically expected of a hostess, she quickly reverts to her familiar, sharp-tongued self upon finding about Madarame’s recent inner conflict over receiving Valentine’s chocolate from Hato. When it comes time for Keiko to switch out with another girl, however, Madarame asks if Keiko can stay because in spite of being a girl Madarame feels like he can talk comfortably with her. Many hours later, Madarame wakes up from a drunk stupor only to find out that it’s 3am in the morning. Madarame goes to find a 24-hour internet cafe to crash at, but Keiko suggests he come over to her place.
The Almost-Romantic Misadventures of Madarame (If They Ever Begin At All) is such a strange place to be at when you think about how Genshiken began and Madarame’s original role as alpha otaku. Obviously the awkwardness around women was there from the start and has persisted to even this most recent chapter, but now Genshiken is actively presenting Madarame pairings for people to ship and feeding solid arguments for each. In the case of Keiko, we see Madarame able to actively argue and interact with Keiko in a way that looks natural. Not only that, the fact that Keiko herself quickly reverts to her true self instead of continuing her performance as a hostess means that this attitude is reciprocal. Perhaps if this were a different manga, Keiko would say something like, “I can’t help but be myself around you!”
I bring this up not to board the Keiko x Mada train, but in order to preface something I’ve felt about the past two chapters. I find that, perhaps more than ever, the manga gives the impression of a sense of “progress.” In other words, while obviously many characters have changed in major ways throughout the series (Ogiue most of all), the smaller developments in Madarame feel potent because of how relatively small they are. To some extent, this has to do with the fact that these chapters have concerned characters from the older generation like Madarame and Kugayama, but what’s even more significant is that, even though these conversations feel comfortable, there’s a new context around them in the form of Madarame’s girl troubles that also tinges it with just a bit of exciting unfamiliarity.
Having never been to a host or hostess club, anything I know about them comes from media (anime, written articles, etc.), so I was a bit surprised to find out about all of the little things they do to get your money. While I’ve heard that people spend lots of money on their hostesses, what I didn’t know was that they actively switch every 15 minutes or so and that the only way to keep talking to your preferred girl is to spend money on them in the form of drinks. It reminds me a lot of how contemporary free-to-play games work, giving the customer a small taste and using the allure of continued immersive entertainment to lighten their wallets.
In that sense, the cabaret club is not that different from cute girl-oriented games such as Love Live! School Idol Festival or Kantai Collection, especially when it comes to all of the tricks the girls use to keep a guy enticed. School Idol Festival presents little “stories” where the girls talk about their favorite things, and there’s always the implication of an ambiguous romantic attraction to you the player (“Maybe next time, I can wear other outfits for you!”). Similarly, in this chapter, Keiko demonstrates a number of tricks of the trade. Showing a bit of cleavage is an obvious one, as is presenting a cutesy and demure persona through her attitude and posture, but it didn’t even occur to me until she dropped the act and crossed her legs that her original way of sitting with legs pressed together is clearly suggestive. This doesn’t mean that bare, uncrossed legs are always about sending signals, but in the context of a cabaret club and its employee it’s pretty clear what the true motive is.
I believe that Keiko’s familiarity with the use of a persona to attract men, perhaps not only due to her current profession but possibly also due to the circles she’s run with in the past, is what makes her so skeptical of Hato. Seeing Hato act so girly while knowing that he’s really a man (and sees himself as a man), most likely Keiko thinks that Hato must have some kind of ulterior motive or is not presenting his true self. After all, she fakes her personality for work every day, and knows what will get a guy to pay more attention (and money).
Of course, as established previously, Keiko does have some degree of attraction towards Madarame, and so this changes the dynamic of their hostess-customer relationship in this chapter. However, I find that her approach to getting Madarame, while comparable to her hostess strategies, is still significantly different and perhaps even closer to Angela’s approach. When originally trying to get with Madarame, Angela told Ohno (in the between-chapter extras) that she had intentionally emphasized her dynamite body around him so that her image would linger in his mind (Angela specifically says that he wanted Madarame to masturbate to his memory of her). Although Keiko doesn’t utilize the same sledgehammer method as Angela, it’s also clear that Keiko knows exactly what her words imply when she invites Madarame over to her place at 3am in the morning, and that this has instantly planted a seed into Madarame’s imagination. Keiko the hostess nudges and winks, Keiko the person presses the issue.
Even though he doesn’t have much of a presence in this chapter (or well, ever), there are these little things the chapter presents about Kugayama that I find interesting. After Madarame wakes up, Keiko informs him that Kugayama paid for everything, and that it looks like he makes more than a decent wage. While we’ve seen Kugayama employed for a long time now, this gives me the impression that he’s become a true otaku salaryman, in the sense that while he may not have much time anymore he’s able to devote his earnings to continuing his fandom. Additionally, while Kugayama is secretly praying that Madarame won’t buy an expensive drink for Keiko with the expectation that he’ll be treating Madarame to it, Madarame himself doesn’t even consider the notion that he’s doing this on Kugayama’s own dime (or 10-yen coin ha ha ha ha please don’t kill me). There’s just something there that makes me really feel their friendship even though we don’t see it too often anymore.
The last thing I want to mention is that the next chapter preview reference this time is actually from Marvel Disk Wars: The Avengers, the bizarre anime where Captain America and friends are kind of like Pokemon. Kio frequently makes both obscure and recent references, but this one actually caught me by surprise more than any other.
Name: Ootsuka Meiko (大塚芽子)
Relationship Status: N/A
Origin: Yamada-kun and the Seven Witches
Ootsuka Meiko is a student at Suzaku High, and was at for a period one of the legendary “witches” tied to the school. Her ability was telepathy transmitted through kissing, which she used to get around her own shyness and to cheat on tests with the help of other students. Her “inner” personality contrasts heavily with her image, and is in fact much more commanding and authoritative. She lost this ability when Yamada Ryuu removed all of the witches’ powers in a ritual. Meiko also draws her own manga.
When Yamada found a way to read Meiko’s thoughts, he found out she was mentally writing a dirty fanfiction pairing him with the student council president Miyamora Toranosuke, using the fact that Yamada had become his secretary as fuel for her imagination.
Since the last chapter, Madarame has been mulling over Hato’s Valentine’s chocolate. Feeling a sense of happiness over receiving them yet also confused and alarmed by this very reaction, he seeks the advice of Kugayama, who is the only other guy out of the old Genshiken crew to not have a significant other and thus won’t spill the beans to the girls. As the two get increasingly drunk over some barbecue, Madarame reveals where he believes the confusion lies: to him, Hato is a man and therefore someone Madarame can relate to, whereas women are so foreign to him that he doesn’t know how to even begin dealing with their affections. Kugayama suggests going to a soapland to help him get over his fear of women, but realizing that it’s probably too big a jump for either of them they consider instead going to a cabaret club, more specifically Keiko’s.
For a chapter basically consisting of two scenes and a brief look into Yajima’s attempt to improve her figure drawing with the help of Yoshitake, there’s actually a whole lot to unpack. At this point, it’s something I expect from Genshiken even putting aside my own tendency to analyze the series in depth, but the more I thought about the simple events and topics of this chapter, the more complex the exploration of otaku sexuality and its perception in the otaku mind becomes.
Although I’ve had to re-assess the manga’s messages when it comes to attraction and sexuality a number of times, at this point one thing continues to be certain: Genshiken presents the idea that one’s “2D” and “3D” preferences neither overlap entirely nor are they truly separate. It wasn’t that Hato was in denial when he originally said his preference for BL existed purely in the realm of doujinshi and the like, but that he honestly felt that way. However, as we’ve learned, even the distinction between “2D” and “3D” is tenuous, as the characters of Genshiken ship real people (or at least imaginary approximations of real people). I would argue that BL was not Hato’s realization of homosexuality, but something which made the idea a distinct possibility in his mind that helped him to clarify his feelings for Madarame.
While I don’t think Madarame is having the same thing happen to him, I do think his actions in this chapter reflect a similar semi-disconnect between his 2D and 3D desires. Consider the fact that one of Madarame’s warning signals was that he began re-playing his otoko no ko eroge. One would expect the situation to be that ever since Madarame received the chocolates that he began to look into those games, but he in fact had them for a while. While Madarame maintained is self-identity as heterosexual, he was playing those types of games the whole time, and as implied in the chapters where he first discusses his experience with those games, it’s less about being into guys 2D or 3D and more about the use of sexual expression coded generally as “female” in otaku media that appeals to him. Hato, who similarly performs “femininity” looks to be hitting the same triggers in Madarame, and the very fact that this deliberateness in the end positions Hato to be male is also what makes Madarame feel as if he can relate to Hato better than any woman.
The female sex is something Madarame has viewed his entire life as a realm of distant fantasy, only barely entering his purview of reality when Kasukabe suggested that maybe they could’ve had something if circumstances had been different. This, I think, is why Madarame has trouble deciding what he feels in reaction to Sue and Angela (via Ohno) giving him romantic chocolates as well. Madarame has expressed interest in 2D characters similar to Sue, and there’s no doubt that he finds Angela attractive on some level, but they’re a foreign existence, both figuratively and literally. In that sense the anime girl and the real girl are equally “farfetched.” This is also what makes the Chekhov’s gun that is Keiko’s heavily photoshopped business card so powerful. Not only is it the case that Madarame’s refusal to visit the cabaret club back in Chapter 59 potentially overturned the next chapter, and not only is Keiko one of the other girls into Madarame, but Keiko herself plays a “character” at her workplace. Even firmly within the realm of “3D,” the line between fantasy and reality blurs.
Another thing I find interesting about this whole notion that Hato’s feelings are easier to respond to because Madarame can relate to them as a fellow guy is how this somewhat mirrors one of the reasonings touted for why people get into BL of shounen manga. Traditionally, female characters and love interests in battle/sports/competition manga have been on the sidelines, and most of the displays of fiery passion consist of male rivals and enemies confronting and antagonizing each other, which leads to more time and effort to devoted to those relationships than the ones between the hero and his would-be girlfriend. While this isn’t quite the same as what Madarame and Hato have, what is similar is this concept of guys being able to understand each other on some deeper level (or with girls in yuri), whether it’s intrinsic or something that’s developed over time. In the case of Madarame, it’s perhaps an inevitability given his inexperience with women. In a way, Kugayama’s solution of breaking the “mystique” of the opposite sex through the use of a “professional,” while extremely typical in various cultures (there was even a King of the Hill episode on the subject) is itself also a breakthrough for the otaku-minded, as it involves a desire to get away from the ideal of sexual purity and enter “reality,” though even that conception of the world is fueled by a fantasy. There’s a more I could say about Kugayama as well, but I’ll leave it alone for now except to say that Kugayama in some ways occupies Yajima’s position.
As for the scene with Yajima, Yoshitake, Hato, and Sue, although it’s fairly short, it is notable that Yajima is actually trying to improve her drawing despite being previously resigned to suck at it forever, and Hato’s mention that he’s been drawing manga lately is likely going to mean that he’s gotten past his previous dilemma of only being able to draw BL when dressed as a girl and a rather bizarre style when as a boy. The “disappearance” of the two voices that accompanied Hato (his other self and the other Kaminaga) were likely a prelude to this development. I suspect we’ll see more in the next chapter.
Also, Ogiue does not appear in this chapter but is at least mentioned twice, once when Madarame believes Sasahara would definitely tell her if Madarame were to divulge his secret struggle, and once when Yoshitake states that it was Ogiue’s suggestion for Yajima to do some rough sketches.
Can you believe it’s finally Chapter 100? Genshiken has come a long way, and you’d expect a manga to make a pretty big deal out of something like this, but this month is actually fairly low-key in spite of it being about Valentine’s Day. Perhaps that casual approach is the most appropriate way to celebrate Genshiken.
I get the feeling most people reading this will be familiar with the distinction between giri (platonic) and honmei (romantic) chocolates in Japanese Valentine’s Day, but I’m pointing out the distinction here just in case.
The women of Genshiken are buying chocolates for Valentine’s Day, though in the spirit of cooperation and camaraderie they’ve decided to buy their chocolates together, and for everyone to buy each other chocolates. Or rather, that is the plan on the surface, as it’s really an opportunity for everyone to buy chocolates for their respective crushes and make it look like an egalitarian affair. Yajima appears to chicken out at the last second and just buys a box of chocolates for everyone to share, but this too is revealed to be a ruse. Kuchiki comes in and is (somewhat justifiably) angry that no one remembered to give him chocolate, and Yajima gives the chocolates meant for Hato to Hato but only so that he can offer them to Kuchiki to quell his nerd rage. In the end, Hato (with Sue) goes over to give him some honmei chocolate, which causes Madarame to blush profusely.
The title of this chapter—”Is it the birthday of the Van Allen Radiation Belt?—is a reference to Kyuukyoku Choujin R. It’s also been the source of a lot of Sue’s quotes, and reminds me of Tamagomago’s post on the difference between Genshiken and R. As mentioned there, Genshiken used to be compared a lot to R, but their approaches to the generation gap between club members is different. I’ve pointed out the contrast between the old and new era of Genshiken, though at 45 chapters into Nidaime it’s at the point where the Ogiue-led Society for the Study of Modern Visual Culture has been its own thing for almost 4 years now. Even though the connections pop up still, I’ve gotten the feeling that the manga has been trying to move away from that disparity between “young” and “old,” and more towards this incarnation of the club having its own rhythm. That sense that the “fujoshi-laden Genshiken” is unique has always been there, but in this chapter it really comes through.
Genshiken has never really done Valentine’s Day, and while at first that seems kind of unusual given how long the manga is, it makes sense that it would happen only after 1) the club went from being mostly guys to mostly girls (Valentine’s Day is a holiday in Japan where girls give chocolates) and 2) after romantic feelings are front and center in the story. The chapter purposely makes note of the fact that the way the Genshiken members go about celebrating Valentine’s Day doesn’t quite match up to the way things go in anime, but at the same time it still kind of falls into the same parameters. All of the twists and turns in the plot summary above are basically attempts by the girls to Trojan Horse honmei chocolates as giri chocolates, making for something as complex as the political machinations of some royal nobility. I do find it funny that Ohno, having spent some time in the US, gives the “I wish it were more like anime!” vibe like you’d expect out of her fellow Americans.
Always lurking in the proverbial background (and let’s face it, also the foreground) is the fact that this collection of fujoshi (+ fudanshi) for the most part have rather limited and awkward experiences with romance. Even a “veteran” such as Ogiue is still relatively new to the whole girlfriend thing; as the title page mentions, this is only her second time ever celebrating Valentine’s Day with Sasahara. Sue still uses the “Ogiue is me wife” defense mechanism and both Yajima and Hato are smack dab in the middle of a love dodecahedron. Even though Yoshitake is not directly involved, I generally get the feeling, based on her willingness to dispense advice on even a subject as unfamiliar to her as love, that she would probably handle romance worse than Yajima. It’d be the perfect culmination of all those times Yoshitake has gotten Yajima to do embarrassing things. Of course, even better than a punchline is Yoshitake and Yajima actually punching each other, in this casebecause of the former’s “schemes” and the latter’s “cowardice.”
A while ago, I read a review on Anime News Network for Genshiken that was mostly positive but criticized the manga for an overwhelming use of word balloons that supposedly detracted from the visuals. I disagree, not because I think there aren’t a lot of word balloons or that I believe them insignificant, but rather because they add to the experience of looking at manga, guiding the eyes from one significant element to the next while also giving the sense that the characters are chitchatting pretty constantly. Genshiken is sort of an atmospheric manga, but that aspect is minimized most of the time only to let the moments of total “silence” have that much more impact.
As for Madarame’s blushing, I’m not going to say that Hato x Mada is impossible (unlikely, yes), but I think it’d be wise not to read too much into Madarame’s reaction. Once again, we’re talking about a character who is the quintessential super otaku. Even if he finds himself surprisingly popular at the moment, and not so long ago was told that maaaaybe he might have had a chance with the girl of his dreams if circumstances had been different, this is the first romantic Valentine’s Day chocolate he’s ever received from anyone, guy or girl. It can be a lot for a guy. Then again, Nidaime relative to Madarame has partly been about how that classic otaku type is not static, but is rather subject to change due to the influences around him.
If there is anything marking this chapter as a milestone, it might be Ogiue’s behavior. Ogiue was originally a very intense and blunt person with a lot of personal emotional pain inside of her. Here in Chapter 100, Ogiue is rather sharp-tongued, but in a way that really contrasts with her old self. Whether it’s telling Ohno that she can’t play the “recently returned to Japan from abroad” card, or pointing out that Ohno took another year to graduate, there’s a strange kind of serenity to Ogiue’s verbal jabs. Ogiue’s always been a character with a lot of interesting and complicated facets, but subtlety in her words was never really one of them. Maybe it comes from becoming a professional manga creator, or maybe it’s just part of her growth in general. The fact that she’s the spotlight for the title page in spite of not being the focus of the chapter shows her overall importance to Genshiken. Though she’s no longer really in the spotlight, Ogiue continues to be the best character.
By the way, Genshiken Volume 16 is on sale June 23rd. I hope they don’t mess with me again and have a special edition and exclusive editions at Japanese stores!
I can’t say I’m entirely surprised that a Genshken hug pillow would exist some day. Kio Shimoku once drew a fake Ogiue hug pillow, and it’s not even that farfetched for the pillow to be Sue of all characters. When I think about it, though, isn’t Sue pretty much the polar opposite of the typical “hug pillow” character? She’s not just an awkward otaku, she’s an awkward otaku who actively makes others feel awkward, as opposed to some ideally flawed character. Or has the popularity of Tomoko from Watamote changed the dynamic and now this sort of girl is “in?”
I’m honestly curious as to who’s going to end up buying this. I get the feeling it’ll require a very specific and special type of fan.
After being absent for many chapters, Yoshitake Risa makes her return. Having given up a potentially successful career in basketball to take the entrance exam for Shiiou University, she and her older sister Rika have a heart to heart talk the night before, which quickly turns extremely otaku. At the same time, Yajima, Hato, and Sue have their own conversation about the younger Yoshitake, based around the fact that part of her inspiration for trying to get into their university is Hato and his crossdressing. Despite waking up late, a freak snowstorm delays the test, and Risa manages to make it there on time and pass the test.
The title of this chapter, “Little Sister Entrance Exam II,” is a reference to when Sasahara’s sister Keiko tried to get into Shiiou University herself. She failed, though Risa appears to be a good deal sharper academically, which changes the result.
This month’s Genshiken, despite having a clear general focus on Risa and her test, is still surprisingly complex to the extent that I’m not sure if I can cover everything, though to be honest I rarely every do despite my attempts. There are three areas which I think are especially interesting, though, so I’ll focus on those. The first would be Risa’s relationship with Hato, or more specifically her image of him. An unabashed shotacon, Hato’s naked body is what made Risa realize that her interests could be fulfilled in the adult world. However, the fact that she sees Hato as a kind of real life version of her ideal male fantasy (she asks him to wear legs-exposing short pants if she passes, which over the course of the chapter degenerates into some kind of reverse-gender take on zettai ryouiki), clashes in an intriguing way with the developments we’ve seen Hato go through all this time. He’s gone through a period where he refused to wear women’s clothing, and then come back around as he’s accepted his own feelings for Madarame, and here Risa is projecting her own interests onto him. What was already a complicated situation continues to grow, and that’s not even mentioning Risa’s own gender-bending actions.
The second area would be the start of Hato’s “harem.” Recently, the focus of Genshiken has been the number of people interested in Madarame, which the series has been using to explore the idea of the harem manga by way of the otaku sensibilities of the Genshiken characters. In this chapter, we not only see once again that Yajima has feelings for Hato, but that there might also be something with Sue, and Risa expresses her own interests in Hato (even if they’re mixed up with her otaku fantasies). Then there’s also Konno the googly-eyed goddess, who doesn’t appear in this chapter. Suddenly the series isn’t about one man’s “harem” (even though the term is kind of bad for describing when two or more people like you), but two intersecting ones. Granted, Yajima’s fear of Sue seems fairly unfounded, and I think it’s meant to show more her concern over potentially being outclassed, as well as her realization that it’s getting harder for her to deny her own feelings for Hato when she references her and Risa as “rivals.” I also find it notable that Risa is the only one to state some sort of interest in Hato to him, instead of only confessing to friends.
The third area is of course the subject of the entrance exam itself. Rika’s advice to her little sister is this mix of big sister attitude and fellow understanding as an otaku. In particular, Risa struggles with whether it was okay to walk away from basketball on a whim, to which Rika essentially responds that being an otaku means living by your passions even if it means making seeming unreasonable choices. The idea is that otaku aren’t as able to stifle their interests in the hopes of integrating with the rest of the world, and Risa already has done a relatively bang-up job what with her successful high school life. Something about this really strikes a chord with me, probably because I know others who’d probably give the same advice, and it’s something I’d encourage as well. On the other hand, this advice can also be abused such that one might refuse to better oneself, but that’s the kind of risk that exists with this sort of philosophy.
One last note: Sue’s snow shenanigans at Madarame’s place make me think of her as a kindred spirit to Calvin from Calvin & Hobbes. Now that’s some crossover fanart I’d be interested in.