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Thanks to the combined efforts of manga translator kransom, ANN Astro Toy reviewer Dave, and especially the very dangerous wah, I finally have in my hands the Japanese Genshiken Nidaime (aka Genshiken Second Season, aka Genshiken II). While it’s been a while since the show came out, I’m still quite happy to add it to my collection. Now I just need to get the English-language release from NIS America, whenever that’s coming out.
Now why would I buy Japanese blurays at exorbitant prices instead of waiting for a more reasonably priced US release? It’s because, at the end of the day, I am the Ogiue Maniax.
Above the bluray discs themselves you can see both a signboard from Kio Shimoku and an illustration collection. Both of these items are included because I had preordered all four volumes at Toranoana. This was available at multiple anime shops in Japan, and I chose Toranoana because it came with the Ogiue and Sue signboard, as well as an illustration collection with the two on the cover as well. Those of you who have shopped or have tried to shop from Toranoana are probably aware that they only ship within Japan, and it’s thanks to wah’s generosity that I was able to give them a temporary home first, while the other two helped traffic it over. Again, thanks to all of you, next meal’s on me.
It’s been a while since I really went in-depth about the topic of moe, but here’s me and the Veef discussing the topic. If there’s anything I’d like people to get out of it, it’s to not take such polarizing stances about the topic.
Tomorrow is the start of New York Comic Con 2014, and I for one am pretty excited. Though I’ve attended NYCC in the past, it’s actually been five years since I was last able to attend, and I’ve heard from people that it’s changed a lot. Heck, people over the past couple of years have been talking about how it rivals San Diego Comic Con now, and that is certainly not the convention I left back in 2009.
I know that at a con this big I won’t be able to do everything I want, but here’s some stuff I’m considering.
Walt Disney Studios Tomorrowland and Walt Disney Animation Studios Big Hero 6. 1-2:30pm, Main Stage 1-D
Comics – What We’ve Lost, What’s Ahead. 2:15-3pm, 1A01
Nickelodeon’s Legend of Korra: Book 4. 5:15-6:15pm, Empire Stage 1-E
“Marry, Do or Kill?” What Will it Take to Shatter Female Stereotypes in Comics? 11:15am-12pm, 1A05
Voltron: A 30th Anniversary Celebration Presented by Perfect Square. 2-2:45pm, 1A21
Weekly Shonen Jump Presents: Takeshi Obata. 5-5:45pm, 1A10
CBLDF: The Battle of New York – Creativity, Censorship & the Comics Code. 6-6:45pm, 1A18
Sunrise Official Panel. 1-1:45pm, 1A21
The Mary Sue Presents – Strong Female Characters: The Women Shining in Geek Media. 1:15-2pm, 1A01 (Conflicts with above)
Vertical Manga 2014. 5:15pm-6pm, 1A14
Kill la Kill Episode 25. 8:15-10pm, 1A06
Image Comics: I is for Inventive. 12-12:45pm, 1A10
Kakehashi Project – New Japanese Animation Talent. 1-1:45pm, 1A21
Kodansha Comics. 2-2:45pm, 1A18
The Mary Sue Presents – All on the Table. 3-3:45pm, 1A21
Name: Kaminaga (神永)
Relationship Status: Engaged
Origin: Genshiken: The Society for the Study of Modern Visual Culture II
The former de facto leader of her high school art club’s fujoshi contingent, Kaminaga is a skilled artist and consistently “rotten”-minded woman. She shares an unusual relationship with Genshiken member Hato Kenjirou, as she is not only engaged to Hato’s brother Yuuichirou, but Hato now crossdresses in a manner where he becomes nearly the spitting image of Kaminaga. Hailing from Niigata prefecture, her fiancee is extremely “normal” while still being aware of Kaminaga’s fujoshi side. Kaminaga insists that Hato call her “big sister,” and tries to dispense advice albeit from her BL-loving perspective.
Kaminaga may be the most powerful fujoshi in all of Genshiken. Not only does she pair her fiancee with his own younger brother, but she was able to immediately spot who reacted at “appropriate” levels (Ogiue and Hato) upon hinting at this concept. In addition, she was more than willing to spend an evening drinking with Yuuichirou and his former judo teammates just so she could watch a group of burly men wrestle around.
As Madarame licks his proverbial wounds after his “close encounter” with Keiko, Hato reveals to the Genshiken club members that he’s decided to finally try and draw manga, and non-BL stuff to boot. Frustrated over her own lack of talent compared to Hato, Yajima decides in a moment of frustration to draw her own manga as well. The next day, both of them give their comics over to Yoshitake and Ogiue to read, at which point the unexpected occurs: they love Yajima’s manga much more. While Hato’s artwork is superior as expected, his story is inscrutable. Yajima, on the other hand, although lacking talent in terms of pure draftsmanship, is actually Hato’s better when it comes to the comics format.
For this chapter, I feel that there are two major points of discussion.
The first is that Chapter 104 is all about revealing new facets of characters we should have been more than familiar with at this point, and how this potentially changes their interpersonal dynamics in the process. Yajima up to this point has felt consistently “defeated” by everything around her, from her looks compared to the other members of the current Genshiken, to her poor drawing skills, to even having the little attempts she makes to try and “catch up” backfire. Hato has served to further magnify this inferiority complex, an issue further complicated by her feelings for him. Yajima is a character who survives off of stubbornness and perseverance, but now for the first time, possibly in her entire life, she has “won.” She has displayed a skill that is not easy for most people, outdoing Hato in the process, and perhaps even Ogiue the manga professional. Yajima might finally get the confidence she’s been missing all these years, and it potentially changes her relationship with Hato as well.
There’s also an important lesson for readers in that creating comics is not simply about being able to draw well. As is mentioned in this chapter, having your ideas come across effectively is often considered to be just as if not more important, and there are plenty of manga which succeed not because they look the best, but that their style is conducive to storytelling, or is just plain entertaining even if they might look ugly as sin.
As for Hato, it’s actually quite interesting to see the degree to which Hato is fazed by his lack of success in creating his first manga compared to Yajima. Since the start of the second series, Hato has consistently been shown to be unusually talented in pretty much anything he puts his mind to, be it judo, crossdressing, or even mimicking the drawing style of the girl he looked up to. While he isn’t a perfect being, seeing as Hato has hit obstacles in the past such as his eccentric drawing style when out of girls’ clothing, it’s clear that Hato is in a way unaccustomed to failing when there are no mental blocks in his way. For the first time, he may have to realize his limits, but in the process might become more thankful of the myriad talents he does possess.
There’s a strong likelihood that this new angle leads to collaboration between Hato and Yajima. The last campus festival was all about team efforts to create manga, and seeing as the two potentially complement each other better than the Hato/Ogiue or Yajima/Yoshitake duos, it could lead to great things. Of course, the burning question in all of this is, could this collaboration be the catalyst for something more romantic? Given Madarame and his woes, it’s impossible to predict Genshiken anymore, but there is a precedent of sorts with Sasahara and Ogiue.
Speaking of Ogiue, even she shows another side of herself in this chapter as we get to see her ultimate goal for Genshiken. Having inherited the club from Ohno, she’s been not-so-secretly desiring the end of the club’s reputation as a “Cosplay Research Society,” but only now are the pieces in place to mold Genshiken in her image as a manga-creation club. Though I don’t think Ogiue is any sort of devious mastermind, I do have to wonder if the executive decisions we’ve seen out of her so far—the return of the Genshiken club magazine Mebaetame, encouraging the creation of manga for the campus festival—were all building blocks for this. Overall, I’m honestly surprised at how much this chapter feels like it changes everything, and yet is such a sensible progression of the story as the characters’ emotions are on full display.
That leads me to the second major pojnt of discussion for this chapter: THE FACES.
I’ve talked about the amazing expressions in Genshiken II before, but this chapter blows every previous one out of the water. Just look at these images of Yoshitake with a grin that would make the Joker jealous, and how Hato’s intensity is radiating off the page.
Of course, seeing Yoshitake practically melt into a pile of goo seen above is one thing. After all, Yoshitake has always been a powerful source of hilarious faces. So is seeing Hato’s expression of jealousy over Yajima’s heretofore unknown talent for manga, as it’s not that different from how he usually looks, even if it is kind of unexpected. What’s really remarkable though, at least from my very biased perspective, is the veritable treasure trove of Ogiue faces that this chapter has graced us with. In the past, Ogiue was mainly known for a perpetual expression of deep anger, and even in moments of joy (like the intimate moment she and Sasahara have in the final chapter of the original series) she still tended to stare daggers at people, if unintentionally. One of the big shifts in Nidaime is the fact that her expressions have softened up considerably over time, and in a way it feels as if this chapter is the culmination of that development.
I don’t have any exact statistics on this, but I do trust my memory as an Ogiue fan on the following: do you know when’s the last time we got to see Ogiue literally laugh out loud so hard she couldn’t control herself? The answer is never. I believe it is a first for the character, and it helps to hammer home the point that Yajima’s manga is legitimately funny, and legitimately interesting.
Next chapter looks to be focused on Madarame and Sue. Given the insanity of last month’s chapter I think this “break” from Madarame’s girl troubles is great, but seeing as this chapter was so downright enjoyable, a part of me hopes that it shifts back to the threads that have laid down here as soon as possible, even though I expect great things out of whatever antics Sue has in store.
Name: Konno (今野)
Alias: Kon (コン)
Relationship Status: Single
Origin: Genshiken: The Society for the Study of Modern Visual Culture II
A former classmate of Hato Kenjirou, Konno is a fujoshi who discovered that Hato likes yaoi and is inadvertently responsible for spreading the rumor that Hato was gay. A resident of Niigata Prefecture, Konno was a member of the high school art club along with Hato, Kaminaga, and her friend Fuji. Somewhat high-strung, Konno has feelings for Hato but has difficulty making them known, and feels a good amount of guilt over the incident with him in high school.
Unknown, other than that she always looked forward to Kaminaga’s BL work back in their art club days.
I recently finished Initial D: Final Stage, which brings the story of teenager Fujiwara Takumi and his inhuman drifting skills to a satisfying conclusion. I had been keeping up with Initial D on and off for almost 15 years now, which is kind of crazy to think about, but what was even bigger shock for me was realizing (thanks to the show’s ever-present exposition) that all of Initial D, whether that’s over 700 manga chapters or its anime equivalent, takes place in the narrative over a span of two years.
It’s nothing to get worked up over, and there are series with even more drastic disparities between publication and in-story time frames (see Akagi and Megatokyo), but there’s something about Initial D which feels different. It’s almost as if there were indeed 15 years’ worth of racing action crammed into two.
Other facts I wasn’t even aware of are that the manga itself ran for about 18 years, and that the author Shigeno Shuuichi was born in 1958. Somehow he was able to maintain the racing manga for almost two decades, rendering his work about as timeless as the very Eight-Six Trueno that’s at the center of Initial D.
I sometimes see people ask why so often characters in a comedy anime will explain a joke after it’s happened, as the idea of doing so is, at least in English, considered a sure-fire way to kill any and all humor (I call it the Jay Leno Effect). I’ve been doing a bit of reading about Japanese humor recently though, and based on it I think I have a better understanding of why this happens.
Japanese social interactions are loosely governed by two concepts: “honne,” or one’s true feelings, and “tatemae,” what one displays outwards to the public. While I think it’s a mistake to put too much stock into this distinction (believing Japanese people cannot express themselves is sort of ridiculous), the explanation I’ve read is that honne and tatemae are central to certain types of Japanese humor, particularly manzai comedy. In manzai, the idea of having the boke (fool) and the tsukkomi (straight-man) is that the boke does something or says something ridiculous, and the tsukkomi responds with a sharp retort and/or a wack in order to correct the boke.
When it comes to anime, I think that actually when another character “explains the joke,” it’s not to tell the audience in case they didn’t understand. The idea is that something so unbelievable just happened that, rather than letting it slide and preserving the situation (tatemae), the person feels compelled to express his or her true feelings about it (honne). Essentially, the act of explaining the joke is part of the humor itself, as it essentially shows how the event was so jarring or absurd that the character had no choice but to tell it like it is. Sometimes you see characters in anime do this silently, taking advantage of the fact that the format allows us to be privy to their inner thoughts.
Of course, not all jokes can be explained by this, and in fact I’ve also read that some Japanese humor is about being able to create laughter on the inside without it spilling outside, which might explain certain slice of life humor like Hidamari Sketch and Yotsuba&! and the like. That said, I find myself laughing out loud at both of those titles pretty often, so who knows.
Alias: Silkwood Editor (くぬぎの編集者)
Relationship Status: N/A
Origin: Humanity Has Declined
The Oakwood Editor leads one of the most popular amateur groups to be part of the BL “douruishi” craze. Living in a time when fairies have supplanted humans as the dominant species, her circle sells 5000 books at the world’s first douruishi event.
Nothing is known, other than that she heads a very successful douruishi group.
Kurosaki Rendou is a manga creator with certain recurring themes, notably an obsession with both food and bizarre, highly sexually charged relationships, but in terms of where those general tendencies go, the sky’s the limit. Kurosaki’s most well-known work, Houkago Play, is about a gamer guy and his leggy, sadistic girlfriend arguing with each other. On depicts a very sexually graphic homosexual relationship. Receptacle is a manga about women candidly discussing their active sex lives, who find themselves in a bizarre love triangle and mutually attracted to each other.
The last title I’ll mention, Chou Nettaiya Orgy, features prostitutes arguing with each other about mundane things, made all the more bizarre by the fact that it runs in an actual porn magazine which mostly features the kind of work you’d expect from an 18+ magazine. Imagine if there was an adult video compiling various pornographic scenes, and in the middle is an episode of Seinfeld.
Kurosaki’s gender is unknown. though I suspect Kurosaki is a woman, I have no proof, and instead merely have an inclination because of how Kurosaki’s manga runs the gamut when it comes to sex.
One interesting wrinkle in Kurosaki’s work is the fact that a lot of these manga take place in a shared universe. While Kurosaki isn’t the only artist to do this (not to mention the fact that American superhero comics tend to thrive on this concept), normally these worlds are kept separate. Yuri manga will take place in an environment where yuri is ideal; yaoi manga is a similar deal. With Kurosaki’s comics, characters from one will cross over into another, making all of these different fetishes and types of sexual attraction exist in the same space. To give kind of an extreme example, it’s as if finding out Busty Blondes 5 and Macho Firemen 3 (I made these titles up) are set in the same neighborhood.
Personally speaking, I really like Kurosaki Rendou’s artwork. Characters in Kurosaki’s manga share the common traits of heavy use of black in their designs, deep empty voids for eyes, and constantly uncomfortable (or discomforting) expressions, like a more extreme version of Ueshiba Riichi (Mysterious Girlfriend X). Kurosaki’s distinct style exudes a strange kind of sensuality that transcends typical depictions of sexuality and attractiveness in manga for either men or women. Rather than having a “male-oriented” approach or a “female-oriented” one, there is only Kurosaki Rendou style. Perhaps this is why Kurosaki is able to draw all sorts of manga, and to bring them all together into one cohesive setting.