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Name: Kuroda, Chouko (黒田蝶子)
Alias: N/A
Relationship Status: Single
Origin: Kyoumeiseyo!! Shiritsu Todoroki Koukou Tosho Iinkai

Information:
A member of the Todoroki High School Book Committe, Kuroda Chouko is the perfect student, skilled in both academics and sports, reliable, and blessed with good looks. Unknown to most, however, Kuroda is also an extremely rotten fujoshi who is particularly fond of super sentai. Fantasizing over pairings of imaginary characters and fellow club members, Kuroda has also created some BL doujinshi herself.

Fujoshi Level:
While most fujoshi are satisfied with thinking of pairings in terms of the traditional “Character A x Character B” or “B x A” scenario, Kuroda has come up with a whole system of pairings using additional mathematical symbols to represent different concepts. These include A ∞ B, A ≠ B (which creates something of a tsundere relationship), and A ≡ B.

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Note: This post contains spoilers.

When you look at the manga Mysterious Girlfriend X, it’s hard to believe that it lasted for over eight years. Sure, it’s not much compared to  Ah! My Goddess, which also ran in Monthly Afternoon but for an astounding 25+ years. Yet the everyday romance of a boy and a girl connected by, of all things, a literal swapping of saliva, feels less like it should have been a consistent presence in manga and more an odd one-off (which it originally was). But last Mysterious Girlfriend X has, getting over the years not only an animated adaptation that is available both streaming and on home video in the US, but even seeing the actual manga itself available in English.

Given its long publication history, I’ve found that my life has naturally progressed since I began reading it all those years ago, and that when I come back to the title it’s from a different place. Yet, I still remember my feelings towards Mysterious Girlfriend X from back then, and it’s interesting for me to compare both the feeling of reading it one month at a time versus all at once, and from a person about 8 years younger to where I am today.

Mysterious Girlfriend X is the story of a young couple. Tsubaki Akira one day meets the eccentric Urabe Mikoto, and on some bizarre impulse decides to taste some of her drool that had been left on her school desk. Afterwards, he finds himself ill in a way inexplicable to doctors. Eventually, he learns the cause from Urabe herself: he’s having withdrawal after not being able to taste her saliva after a few days. The reason? Love, simple as that. According to Urabe, Tsubaki has fallen in love with her, and their only choice is to become a couple, especially given how Urabe herself reciprocates his feelings. However, their relationship is an unconventional one, and though they won’t even kiss or hug, they’ll taste each other’s drool. For some strange reason, this “bond of drool,” which allows them to communicate unspoken thoughts and feelings with each other, is a connection beyond typical human comprehension, brought about by love and desire.

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Given this description, it would be very easy to assume that Mysterious Girlfriend X is some kind of saliva fetish manga, but in that regard the title is often misunderstood. What I described above is the initial premise to get things moving, and rather than having the manga consist of different ways to present drool lust as some sexual deviancy, it’s more a means to an end to explore various facets of their relationships, from Tsubaki learning about Urabe, to Urabe understanding her own feelings better, to the growth of their relationship in comparison to others’. In Bakemonogatari, the character Senjougahara comes up with a word to describe the main character Araragi’s feelings towards her: not moe or whatever, but captivation. Tsubaki’s view of Urabe is a similar phenomenon.

Having re-read the entire series recently, I noticed that marathoning it results in quite a different experience. This is obvious to a certain extent, but what I mean more specifically is that when I originally read the series month to month, it was easier to notice long trends (some might even call them ruts) that the manga was going through. However, reading it all at once made me aware that Mysterious Girlfriend X has rough arcs and turning points for Tsubaki and Urabe. I doubt the series had some kind of intricate forethought behind it (Legend of the Galactic Heroes this manga is not), but some seeds were sowed along the way, and by the end they bear fruit.

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At the start of Mysterious Girlfriend X, the narrative is mainly about Tsubaki trying to learn about firstly what it means to have a girlfriend and secondly the utter enigma that is Urabe. Here, both he and the reader get to see for the first time not only the bizarre “bond of drool,” but also Urabe’s superhuman skill with a pair of scissors that she tucks into her underwear, her willingness to swap spit but not kiss, her refusal to ever let Tsubaki have a photograph of her smiling, and other eccentricities that separate her from others. She comes across as alien both literally and figuratively, perhaps even occult, especially when compared to the relatively normal relationship between Tsubaki’s best friend Ueno Kouhei and his girlfriend Oka Ayuko. We also learn about Tsubaki’s family, particularly his very motherly sister.

Gradually, the layers of mystery surrounding Urabe are peeled back. The first major turning point comes amidst this relationship between Tsubaki, Urabe, and the reader, as we learn about Tsubaki’s late mother through the fact that Urabe can read his latent memories from when she passed away (through his drool of course). Though Tsubaki is unmistakably a reader-insert character to some degree, here he becomes an individual of his own, and the connection between the two deepens.

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From there, we get to see how Urabe herself changes, how she sees the relationship from her perspective. In particular, the manga begins to present Urabe’s own character flaws, such as her possessiveness (which turns out are also shared by Tsubaki), as well as her own growing desire to be with Tsubaki. Here, she becomes more human, and while still an unusual person is less mysterious by virtue of how much time the two spend together. The most notable events in this part of Mysterious Girlfriend X occur when Tsubaki’s bond with Urabe is put to the test. First, an old crush of Tsubaki’s comes back to try and seduce him. Second, an idol who bears a striking resemblance to Urabe (and thus a source of jealousy for Urabe when Tsubaki begins to secretly collect magazines of her) trades places with Urabe. When I first read these storylines, they felt like mini-arcs much like what came before, but now I realize that they are more or less milestones for Urabe and Tsubaki, the points at which their feelings resonate more strongly than mere appearances or past loves.

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At the same time, the introduction of the Urabe look-alike, Imai Momoka, also signals another turning point for the series, towards what might be the most meandering and out-of-control part of the manga. Here, Mysterious Girlfriend X begins to enter a realm of fantastic occurrences and even stranger fetishes. While Mysterious Girlfriend X is not exactly a realistic series in certain key aspects, it starts off feeling somewhat grounded in an almost palpable sense of intimacy and desire between Tsubaki and Urabe. In early chapters, the dark attractiveness of Urabe is expressed in moments such as this, which are weird but understandably are thrilling for Tsubaki:

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In contrast, immediately after Imai Momoka we get, of all things, “eating bacon while wearing cat ears”:

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Other questions from this part of the manga include “Wouldn’t it be great to count the moles on your girlfriend’s body?” and “What’s more attractive, droopy eyes (like Nozomi from Love Live!) or slanted eyes (not in the racist sense, but like Ogiue)?  Eventually the series is able to parlay this into some forward progression between the two, introducing another rival for Urabe in the competition for Tsubaki’s affections (the aforementioned “droopy eyes”), but when you’re reading from month to month it can feel like a kind of narrative limbo. I do want to point out once again though that all of this has more or less nothing to do with saliva, further reinforcing the fact that the drool in Mysterious Girlfriend X is more a kind of means to an end, and representative of many more things than simply a fetish. It’s a substitute for kissing but also much more, a way to access each others’ feelings and to capture the otherworldly feeling of being young and in love.

Even with the holding pattern that the series suffers, one thing that becomes especially clear during thatmost unusual section of Mysterious Girlfriend X is the evolution of the creator Ueshiba Riichi’s art style, which becomes less round and cute as was his way in his previous manga, and a bit sharper and more angular. Whereas his characters looked shorter and roundrr, by the second half of the series they begin to look not only more mature but more expressive as well, especially with Urabe’s cat-like eyes. Even Ueshiba himself points out this change when he discusses how his changing art style might make things difficult for the character designers.

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Another clear indication of Ueshiba’s improved character drawing skills is Oka, who physically is supposed to be as small as an elementary school student but with the body of an adult. The way this is originally portrayed is rather jarring, as Oka looks more like a human being who was hit by a shrink ray, but as the series progresses she ends up looking more properly like a girl who’s simply really short.

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Eventually though the series begins to wrap up, and I think the most telling thing about Mysterious Girlfriend X and its motivations as a bizarre romance come from how it builds up towards its conclusion. The most significant developments at this point are not characters taking the next step physically so much as them sharing more information with each other. We learn how Oka and Ueno became a couple. More and more characters learn about Urabe and Tsubaki’s relationship, notably Tsubaki’s sister, who throughout the series has run into Urabe multiple times under the pretense that she is merely one of Tsubaki’s classmates. As Urabe reveals the truth about her connection with Tsubaki (conveniently leaving out the drool thing), there is a passing of the torch as Tsubaki’s sister, who has pretty much been a mother to Tsubaki all his life, acknowledges Urabe as the one who will become the most important woman in his life. Whether reading on a monthly basis or altogether, the way in which Mysterious Girlfriend X heads towards its ending is somehow surprisingly tame yet still quite appropriate for how the series has been throughout.

There’s a bit of controversy surrounding the ending to Mysterious Girlfriend X, as the manga throughout its 92-chapter run has teased a kiss between Tsubaki and Urabe while also showing many other couples kissing. Even in the final chapter a kiss never happens, as while Urabe finally asks for one, Tsubaki refuses upon learning that it would mean the end of the ritual that has defined their relationship up to this point (kissing is basically exchanging saliva, so there would be no need to do it the other way). Instead, Tsubaki asks if they can’t just keep doing their routine as they always have, at least until they graduate high school. For some readers, this ending is the ultimate denial of what the series had building towards, and indeed the series appeared to be working its way towards their first kiss. However, I find that it’s clear, given how much their relationship grows over the course of the manga, that their first kiss will happen, they will have sex for the first time at some point, but these events will happen off the page, in a future that the manga does not allow us to witness except in our imaginations. By keeping their kiss away from readers’ eyes (but at the same time showing plenty of other characters kissing throughout the series), it is the final emphasis the bond of drool as representative of their strange love as indicative of not just how love looks when you’re young, but also how it feels. Following that, one might say that the point of those almost-kisses is purely in the tease and enjoying that tease is fun in its own way.

The final chapter also has a number of callbacks to significant events throughout the series, including Tsubaki’s late mother, and the excitement that sparked Tsubaki and Urabe’s relationship in the first place. The example below also of course shows off the difference in art mentioned above.

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Ueshiba writes at one point that he never had a high school romance, let alone something as unusual as the one depicted in Mysterious Girlfriend X, but as I’ve gotten older I’ve begun to find that the quirks that were seemingly brought forth through sheer fantasy on Ueshiba’s parts are closer to reality than perhaps he even realized. Moments which seemed ridiculous five to eight years ago are not so far from actual reality as I’ve witnessed it. Sure, I haven’t seen anyone stick their finger into someone’s mouth and eat their drool, but the meaning and intent behind those actions also exist in reality, or at least the “realness” of one’s emotions.

Naruto final chapters SPOILERS.

As an anime fan, I don’t have a lot of character pairings to which I’m super devoted. However, the closest I come to having a true “ship” is Naruto x Hinata. Based on how their relationship began and has developed over the course of Naruto, I find that it makes the most sense, and had hoped that Hinata would have her happy ending. After all, Hinata saw before anyone else how hard-working Naruto is, and was the first to understand his pain, wile Naruto is the catalyst for Hinata’s own growth.

Now that the final chapter of Naruto all but confirms that Naruto and Hinata not only end up together but even have a couple of kids, all I can say is…

WE WON!

That said, I never actually participated in any “shipping wars” or whatever. However, I finally understand on some level the joy that more dedicated shippers feel when their desired pairing ends up being canon. There’s a strange satisfaction in knowing that all of the little moments that caught my attention as a reader ended up bearing fruit.

Now all that’s left is for me to someday feel the agony of defeat, but for the time being:

Oh, and for all of the confusion and convoluted plot developments, it looks like Naruto ends just fine.

 

In preparation for the American bluray release of Genshiken: Second Generation (aka Genshiken Second Season, Genshiken Nidaime, Genshiken II), Anime News Network and NISA are accepting questions from fans for an interview with creator Kio Shimoku. Keep in mind that Kio has historically given very few interviews even in Japanese, so this is a very rare opportunity for anyone who’s a fan of Genshiken and the man himself.

I of course will be submitting my own question, and it will most likely be Ogiue-related. Also, I may have bought the Japanese blurays already, but I definitely plan on picking these up as well.

(Thanks to Patz for telling me about this.)

Name: Tanaka, Haruna (田中春奈 )
Alias: N/A
Relationship Status: N/A
Origin: Fujoshissu!

Information:
Tanaka Haruna is a professional manga author and an alumnus of Ryouhoku High School, where she was a member of the manga club 10 years ago. Because her manga had been doing poorly as of late, she visits her alma mater in an effort to find her early amateur work and to rekindle her passion. Haruna’s specialty is shoujo manga.

Haruna is boyish in appearance to the extent that she is easily mistaken for an approximately 14 year old male. Haruna’s old classmates are a little envious of her youthful looks, while the current Ryouhoku manga club members, especially the girls, find her incredibly moe.

Fujoshi Level:
Little is known about Tanaka’s fujoshi side, though she is shown in the past discussing various pairings with her fellow club members.

This month, we have our first ever Madarame and Sue-exclusive chapter. Sue tries to jettison her feelings for Madarame as only Sue can, by handcuffing him to a chair and putting funny masks on him until her perception of Madarame changes and encouraging him to date Hato. At the same time, Madarame, still reeling from his nearly physical encounter with Keiko, is trying to comprehend women’s behavior, which might as well be an ancient and inscrutable language to him. In the end, a poor of choice of words on Madarame’s part, a comment on breast size, may have resolved Sue’s problem for her.

Back in 2010, I wrote a small post on how interesting it is that Sasahara and Madarame essentially “traded preferences” when it came to their real-life vs. anime love interests. Namely, despite Madarame being into the character Renko (who is closer in personality and looks to Ogiue), he was head over heels in love with Kasukabe, who was closer to Sasahara’s favorite character Ritsuko. In Chapter 105, Madarame mentions the fact that, in a harem series, Sue’s type, a young-looking westerner with slender limbs and small proportions, is his favorite kind of character, and I think it’s quite notable that Madarame is only now realizing this himself. The explanation Madarame gives in this chapter is that Keiko and her attempted sexual advance on him has messed with his view of the world and how he approaches the subject of women, and it makes total sense, seeing as how the worlds of 2D and 3D have begun to blur in his head.

This is not to say that his confused behavior is Keiko’s “fault,” however, as Madarame himself sees it, but that the younger Sasahara putting the moves on Madarame has forced him out of the warm and comforting shell of his 2D complex. To Madarame, his former distinction between 2D and 3D is that 2D is where he can channel his desires both emotional and sexual, and 3D, the land of the mysterious creatures known as “actual women,” was so inaccessible to him that the best he could do was fawn over Kasukabe from a distance. When Angela was trying to get in his pants, Madarame likely saw that as so far outside reality that it might as well have been a dream within a dream. Keiko’s actions introduced the word “possible” to his real-world (meaning real women) vocabulary, and so in a way his protective layer of ignorance has been shattered in a manner different from Kasukabe rejecting him. Now, Madarame is conscious of the idea that women might be trying to send signals, but he’s basically a man who has been living in a cave all his life seeing sunlight for the first time. It is probably to his benefit that he becomes aware that women who like him can exist, but for now he’s merely blinded and clawing at open air.

Thus, Madarame tries to “read” Sue, given his limited context. “She’s on my bed! We’re by ourselves!” It’s very possible Madarame could have made a big mistake if not for Sue immobilizing him with those handcuffs, but it’s also understandable in that, when it comes to the opposite sex, he’s more or less a baby who has just learned to crawl, let alone walk. His comment to Sue that, well, Hato doesn’t have any breasts, is born from a brief moment of overconfidence (one might say even hubris) and a relative lack of interpersonal communication skills. Earlier in the chapter, Madarame notices that Sue is not completely flat-chested, and so in stating that Hato “doesn’t have any breasts, huh,” he tries to make a distinction between Hato and Sue. However, Sue has been shown to be sensitive to this subject, so it comes across as more of an insult. And even then, this sort of detail which otaku can elaborate upon extensively, the difference between an AA and an AAA cup or whatever, is not exactly going to win any points when talking to an actual girl.

As for Sue, I find that she’s trying to do what Hato himself had attempted before. Sue asks Madarame to date Hato, much in the same way that Hato was pushing Madarame towards being more assertive with his feelings for Kasukabe, and in both cases they were ways to distance themselves from their own feelings. “If he’s in a relationship, I can get over him!” For that matter, Madarame sort of did the same thing to himself with respect to Kasukabe, and even Yajima, who is not in this chapter, has been shown cheering for Hato x Mada as a way to keep her own attraction to Hato bottled up. With Sue specifically, however, it looks like this is her first ever crush, unlike the others who appear to have some unrequited feelings in the past, and so much like Madarame it is also Ms. Hopkins who is learning to crawl. However, Sue is arguably even more of an otaku than Madarame is, and in that way I can really see the perspective of Sue x Mada supporters. They even have that consistent interaction where Sue will pull out a reference and Madarame will instantly recognize it (this chapter it was Saitou Hajime from Rurouni Kenshin). While there are those who believe this swing and a miss on Madarame’s part is the death of this pairing, much like Keiko x Mada I find that it only opens things up more.

I don’t know if this actually a reference or not, but I find Sue’s “funny mask therapy” to be similar to one of the storylines in Space Brothers. At one point, the younger brother Hibito suffers from panic disorder due to a near-death encounter on the moon, which leaves him unable to wear a spacesuit. The treatment recommended to him is to wear various outfits, from football uniforms to animal mascot costumes, in order to gradually lighten the pressure his mind puts on him when in a spacesuit. Obviously, it doesn’t work the same way seeing as Sue is not the one wearing those ridiculous masks, but a similar effect is desired on her part.

The chapter ends with Hato struggling to draw manga. It might be setup for the next chapter, but what I find interesting is that Hato is having difficulty making his manga more interesting, as opposed to being unable to draw BL. Progress!

 

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As an anime and manga blog largely focused largely on commercial output, it is rare that I will report on and review an Art Show in all of its capitalized glory. However, I feel it important to discuss the “Empty God Core” show at the B²OA Gallery, featuring the works of Japanese artist Umezawa Kazuki.

I am well aware of the fact that anime and manga have been subjects of exploration, self-discovery, and exploitation since at least Murakami Takashi and his “superflat” movement. Often times challenging and presenting the exoticism of Japan’s visual culture, artists like Murakami tend to feel as if they come not from the otaku subculture itself, but are reacting to it as it has grown over times. While I would not go so far as to say that this is some unforgivable flaw in his work, that he may not be a “true” otaku, it does make me notice when a piece of art conveys the perspective of someone who has embraced the lights and sounds of anime and manga as almost existential hazes.

That is the impression I received from Umezawa’s work, though even before I saw the actual show itself I had an opportunity to meet him for the first time thanks to our mutual friend, Ko Ransom. If there is anything that stood out to me most about him at first glance, it would have been his A Certain Scientific Railgun pins adorning his clothing. The one most prominent could be seen on his chest, a chibi version of Nunotaba Shinobu, my favorite character in the Index universe. A teenage scientist with a propensity for interlacing her speech with English, Nunotaba comes nowhere near the default choices for popular characters in her series, so I knew that Umezawa was serious business.

That being said, while I was aware that Umezawa was an otaku before I saw “Empty God Core,” I would have jumped to that conclusion almost immediately if I had come in without knowing a thing. Umezawa’s works consist largely of collages of anime characters, scrambled to the point of almost losing all recognizable qualities, and then rearranged to create futuristic, apocalyptic landscapes and large, god-like figures. I say “almost,” because the first thing I spotted in one of his digital paintings was the characteristic blonde poof of Cure Peace from Smile Precure! Soon after, I spotted bits of other characters as well, but it made me realize how distinct Precure hair is designed to be, so that, even divorced from the very bodies on which they sit, one can see that, yes that over there is a piece of Cure Blossom, and down by the side is Cure Beauty. The iconic nature of anime and manga characters jumps to the forefront, and their fragments are used to construct worlds.

There is a general idea when it comes to anime fandom that a lot of its qualities arose from the perception of 1980s Japan as a kind science fictional space. Like Blade Runner, which envisioned a future city amalgamated from Tokyo and various Chinatowns, the common discourse positions otaku as products of their time, and their subculture a result of changes to the world, the economy, and the degree to which societal values crumble or ossify in response. In this environment, otaku have historically been viewed in a negative light, people who cannot confront reality, loners who can only consume their media in ways which reinforce their divorce from society, while anime and manga become increasingly shallow and lacking in any real substance. What Umezawa’s work does is flip that script on its head, and show how this otaku subculture and its inhabitants can utilize the “vapid” qualities of anime and manga and its devotion to signs and icons of cuteness, beauty, and sexuality as building blocks, as atoms to form universes. Rather than a dystopian cityscape creating the otaku, the otaku creates the dystopian cityscape. He turns lemonade into lemons.

This post is regrettably a little late, but if you’re in or around New York City, the show is running until November 15th. The B²OA Gallery is at 515 west 26th street in Manhattan, and is open Tuesday through Saturday from 10am-6pm.

Name: N/A
Aliases: Daigouin Pyonko (大豪院ピョン子)
Relationship Status: N/A
Origin: Hanaukyou Maid Tai

Information:
“Daigouin Pyonko” is a doujinshi artist who wears bunny ears and ends all of her sentences with “-pyon.” She is a friend of the Hanaukyou household’s maid Suzuki Ikuyo, though their relationship is somewhat antagonistic. She created the doujin Kappa Buta, a yaoi doujin about a kappa and a pig (likely a reference to Journey to the West or one of its adaptations).

Fujoshi Level:
Other than the unusual animal content of her doujinshi, nothing else is known.

New York Comic Con 2014 was my first in five years. I wasn’t around for the dissolution and complete integration of New York Anime Festival. I did not see the claustrophobia-inducing crowds created by people sneaking in that nearly drove some of my friends to never, ever go back. I was not around as the aging Jacob Javits Center itself expanded as best as it could to account for not only this convention but others as well. My experience with NYCC 2014 is almost that of a time traveler, as what I have to mainly compare it to is an old existence, before this convention was being labeled as the San Diego Comic-Con of the east coast.

As much as a convention should be about being a magical and informative experience where fans connect to the media they love as well as to their peers, the first thing worth mentioning about NYCC 2014 is its use of RFID badges. I was informed of their inaugural usage last year, but seeing them in action made me fully aware of the boon they provide to both the convention goers themselves and the staff running the entire thing. Essentially, attendees must use a card to check in and check out of the convention area, which not only cuts down on the number of people who shouldn’t be there but means that there are plenty of opportunities to actually relax and take in the con experience. Just having a space that is outside the convention building itself but still part of NYCC was so beneficial, as it allowed attendees to catch some fresh air if they needed it. Though I didn’t know anyone personally who had difficulty handling large crowds (and the NYCC attendance population is around a staggering 100,000), I suspect having not only the front entrance but other outside spots may have been a life saver for some.

Of course, all of this is not to say that New York Comic Con 2014 was neither magical nor informative, as I found it struck a fine balance as a convention of industries, artists, and fans in terms of activities and opportunities. New York Comic Con is a for-profit venture, designed to make money and to benefit all of those who take part in it on the industry. For one thing this means greater industry presence in both the panels and the showroom floor, and fewer fan panels where enthusiasts can analyze and discuss particular interesting angles of the things they love. However, as much as I’m used to industry panels being fairly by the numbers affairs about shilling products (not that there’s anything wrong with it), at NYCC these panels, although different from fan-run events, still carried with them a lot more meta-discussion of the industry and what it means to be “in” comics. You have to expect the sales pitch to some degree, but it was rarely much of an issue.

For example, I attended a couple of panels about women in comics (be they characters or creators or fans or anything else), and it involved industry professionals of all sorts who didn’t necessarily all agree with each other discussing an important topic in a way that encouraged further conversation instead of necessarily having as their primary agenda the sales of their own products. In the “Women of Color in Comics” panel, for instance, you had both industry veterans and independent creators. One veteran emphasized the idea that if you want to change how the big companies see women, you have to know how to communicate in their language, bring portfolios that old white men would understand, while some of the freelance artists stressed the importance of being able to work for yourself to create the characters you want.

The women in comics panels were illuminating and informative overall, though I do have one criticism for a prevailing sentiment I saw: when asked about how to deal with men who aren’t even aware that there is sexism and discrimination in the industry and its fandom, the answer I saw most often was “who needs those guys, forget them.” I understand that dealing with ignorance getting asked “what sexism?” for the 1000th time is a trying, perhaps soul-draining experience, but I do think that it’s still a group of people who need to be addressed and who might honestly just not know.

It’s actually quite impressive how supportive of female fans and creators New York Comic Con was. In addition to the panels, there were large “Cosplay is Not Consent” signs that were noticeable but not terribly intrusive which aimed to prevent sexual harassment of cosplayers by appealing to the human brain’s ability to think ahead. I hear it was largely effective, though without context I do wonder if some people thought that the signs were saying that cosplaying was not okay.

Maybe this has to do with the number of artists, writers, and creators as guests instead of marketing folks, but in a lot of the panels I attended I felt that the audience was let in on their creative processes at least to some extent. Obviously they’re not taking advice from attendees, but it seemed like the answers reflected the personalities and styles of those who gave them. Notably, when manga artist Obata Takeshi (Death NoteHikaru no Go) spoke, it was clear that he was not a people person, and was unaccustomed to the spotlight. When he explained how he worked, his answers were muddled like so many other artists I’ve met. In contrast, at one of the Image panels, Matt Fraction could talk up a storm and really present the job of comics writer as something not so much glamorous but intense and personal. While obviously I can’t agree with their sentiments, seeing the panelists at the European Comics Artists panel thinly veil their displeasure towards manga was also similarly revealing.

Before going to the con, I received some useful advice for attending panels: always line up an hour beforehand. It doesn’t matter how small a crowd you think a panel is going to get, because more likely than not you’ll be on the wrong end if you don’t play it safe. Bizarrely, the lines felt rather relaxing. They were times to rest one’s feet, to chit-chat with friends and sometimes strangers, and in my case to play against other people in Super Smash Bros. for Nintendo 3DS. I matched my Mega Man against others and had an exciting time. More importantly, though, the fact that the lines were able to remain these fairly civil affairs (aside from The Walking Dead panel according to what I heard at con feedback) indicates how effective this year’s organization was. At Otakon one year, I had a friend from England who found it mind-boggling that a place could be so bad at queueing. While I don’t know if NYCC could hold up to his superior English line standards either, I think it would have at least gotten a higher grade.

Overall, what might be the strangest thing about my NYCC 2014 experience is that I expected a rushed, frantic time where I would feel overwhelmed to the point of some bizarre euphoria. At times, coming down the escalator and seeing the absolute mob of people in the main lobby made it seem as if I were about to descend into a pit of madness. However, what I actually got was a relaxed, comfortable experience learning about the things I love and trying my best not to spend all of my money. Now if only I didn’t have to buy four 1-day tickets because all of the 3-day tickets sold out in like two minutes, then it would’ve been a lot better.

To conclude, here are some of my convention highlights.

  • Attending my first Avatar (Legend of Korra) panel only to realize that it might be the last Avatar panel ever.
  • Getting Obata Takeshi’s autograph on Volume 1 of Hikaru no Go.
  • Obata would have liked to draw Otter no.11 as an actual manga.
  • Meeting at last my long-time internet friend David Brothers.
  • Asking Juanjo Guarnido (author of Blacksad) about whether the extremely popular comics that the Franco dictatorship in Spain used as propaganda still had any influence today (his answer was no).
  • Being like, maybe one of two people to cheer for Tribe Cool Crew at the Sunrise Panel. I yelled so loudly one of the panelists immediately looked at me. Also, watch Tribe Cool Crew. My review of it is pending.
  • TURN A GUNDAM LICENSED (also First Gundam). I was actually repeating Turn A Gundam like it was a mantra, as if I were trying to cast a magic spell. I guess it worked?
  • Seeing all of the animators’ demo reels at the Kakehashi Project (The Bridge for Tomorrow) panel. A lot of the work reminded me of the more visceral art that often appeals to me yet is rarely found in anime. I especially liked the work of Shiroki Saori.
  • Watching the US premiere of the Kill la Kill Episode 25 OVA. It was a great revisit of the series, and in one brief moment during one of Mako’s speeches I swear she transforms into Baron Ashura from Mazinger Z.
  • Playing all that Super Smash Bros. for Nintendo 3DS with people.

Name: Fuji ()
Alias: N/A
Relationship Status: N/A
Origin: Genshiken: The Society for the Study of Modern Visual Culture II

Information:
Fuji is a former classmate and fellow art club member of Hato Kenjirou, Konno, and Kaminaga. She still maintains her friendship with Konno, as well as the others to a lesser extent. She is relatively calmer than Konno.

Fujoshi Level:
Little is known, other than that she was a part of the “fujoshi” group in her high school art club.

Official sources for Genshiken Second Season

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