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Chapter 97 of Genshiken II has quite a few significant developments, but they appear almost when you least expect them.
Yoshitake and Yajima decide to check out Hato’s new apartment, which is closer to the university. As they relax together, Yoshitake persists in trying to get Yajima to make a move on Hato or at least do something. The conversation goes to the topic of Madarame (who’s been looking for a new place himself), who then turns out to have a cold, prompting a visit.
While Hato uses his spare key to check up on Madarame and returns it, Yoshitake finally gets Yajima to admit that she has some feelings for Hato. As they discuss the fact that there’s actually an open apartment in Madarame’s building, Sue pulls up in a moving truck revealing that she will be living next to Hato (edit: not Madarame like I previously thought) from now on.
I find this chapter fairly difficult to process because it progresses so deceptively. What appears to start out as a Hato-centric chapter slowly reveals itself to be actually more of a Yajima and Yoshitake story, while the idle chit chat of the beginning eventually transforms into probably the most serious conversation about sexual orientation seen thus far in Genshiken. This unusual pacing makes it so that when Yajima finally quietly and grudgingly admits that she has some feelings for Hato (“…I don’t not like him”), it’s so subtle yet upfront that at least for me personally it feels like there’s a delayed response, like I’ve been hit by Kenshiro and am just waiting for my head to explode once it fully processes all of the implications.
Yajima’s moment plays out in the page below, and just the juxtaposition between her face and Yoshitake’s delightfully beaming face over getting her friend to finally come out with what Yoshitake herself has known all along is probably the highlight of the chapter. I know that manga sometimes gets ragged on for focusing too much on faces and not trying to draw more anatomically realistic characters or backgrounds, and then that the common response is to whip out something with really nice rendered art like Berserk. However, I think it’s important to appreciate skillfull use of faces in terms of creating a strong sense of flow and composition, even when it’s just two panels.
There’s also this sense of a narrative passing of the baton as while Hato has come to accept his feelings for Madarame, now it’s Yajima’s turn for conflict and confusion. In Yajima’s case it has nothing to do with her own sexual orientation. Instead, as far as I can interpret things, it has a lot to do with her own poor self-image mixed with some guilt over how she’s treated Hato and the realization that Hato feels something for Madarame. More than her appearance or her fondness for Shounen Jump analogues, it’s moments like these, where Yajima diminishes the value of her own romantic affections in favor of what’s already where, that makes Yajima feel really and truly like an awkward otaku.
As an aside, as much as I like Kinnikuman myself, I’m always a little surprised to see it referenced so readily in anime and manga, a reminder of how popular and beloved it really is. In this case, it’s Yajima using the Hell’s Guillotine, a signature move of the villain Akuma Shogun when she retaliates against Yoshitake’s antics.
When Yoshitake discusses sexuality, she mentions the idea that the fujoshi fantasy world of BL pairings is far different from the reality of a homosexual relationship and that there are (social) challenges awaiting anyone who accepts being part of a sexual minority. Not only is this rather poignant and serious, but together with the fact that she considers the likely reality that someone is going to get hurt in this no matter what, this chapter really highlights the fact that Yoshitake really thinks a lot of her friends. That said, she also kind of brushes aside her high school friends in a comment to Yajima and Hato, thought I take that as her having different types of friendships with different people. Even her friendships with Yajima and Hato individually aren’t quite the same.
As for Sue, the comedy potential for her living next to Hato is obvious, but it casts an interesting context in retrospect on Sue’s appearance in Chapter 95. While Sue being surrounded by mountains of merchandise epitomizes her as a mighty otaku, it also gives off this stark image of loneliness and isolation, which might explain in part the decision to move.
The last thing I want to do is go back to the faces, because this chapter has some of the best I’ve ever seen in Genshiken. You can already see in the Yajima-Yoshitake image above. The series has always been pretty good with the expressions, especially with the old Ogiue’s intense glares and Yoshitake’s general aloofness, but I feel like they’re on a whole other level here.
Seeing this Ogiue face below fills me with a strange kind of glee. In it, she’s basically refusing to get anywhere near a beauty salon. It’s interesting but also completely in character for her to be especially uncomfortable going to that sort of place even though she’s become much more fashionable over time.
Ohno and Yoshitake are thinking about going to a beauty salon, and try to rope Yajima along. Yajima, being the consummate otaku she is, resists to the best of her abilities but eventually concedes. (Un)fortunately, the latest fujoshi-targeted anime hit comes out and all of their plans go out the window as Ohno and Yoshitake spend all of their money on buying the blurays. Yajima gloats.
I enjoy every chapter of Genshiken that comes out, but this month in particular I found myself literally laughing out loud multiple times while reading. Even though most of it is just Yoshitake, Yajima, and Ohno sitting around and talking about whether or not they should go pretty themselves up, the combination of Yoshitake teasing Yajima and the way their conversation always re-emphasizes their identities as otaku makes the whole thing feel delightfully endearing. At one point Yoshitake suggest bringing along Kasukabe and going to a particularly expensive salon, only to be reminded by Ohno that they just all went to ComiFes and are mutually low on funds.
In a way, I find the beginning of the chapter to be kind of a fake-out even ignoring the way Ohno and Yoshitake backpedal, because the fact that it begins with Ohno talking about finally cutting her hair short brings to mind an older conversation where she mentions that the long hair can be an interview while job-hunting, and so we’re led to believe that she’s referring to finally getting serious and moving out into the adult world. It even ties a bit into Tanaka’s implicit proposal back in Chapter 83. Then we find out it’s just so that she can cosplay more character and that goes out the window. Ohno’s refusal to enter the “real world” is an interesting character flaw, to say the least.
(Also notable is the appearance of Kantai Collection references. It had to happen!)
The real focus of the chapter though is Yajima, who once again is feeling the pressure of fashion and appearance, though notably this time Hato is in no way involved outside of a mention by Yoshitake. It’s interesting seeing this topic again after so many other other developments have occurred, like the resolution of Mada/Saki and Hato’s realization about his own feelings, as I think it makes it easier to connect to Yajima who appears to feel almost lost in the madness. Yajima scoffs at the idea of going to a beauty salon initially, stating how she prefers getting 1000-yen haircuts to whatever madness other girls prefer, and it’s entirely understandable. Hell, when it comes to conversations like this, I am mostly on the side of Yajima, and I even recall recoiling in horror at seeing the price of haircuts when I lived in Japan myself.
Of course, as a guy I don’t have to deal with the same societal forces which tell me that appearance is important, and when you look Genshiken it’s clear that even though all of the guys have become more fashionable over time, it’s not nearly the same as what girls have to go through. Like the most significant pieces of fashion advice I’ve received are to not wear clothes that are too large for me, and to never wear yellow (it doesn’t match me apparently), and that’s pretty small potatoes compared to going to a beauty salon. That said, I’m reminded me of what Yoshitake had to say about fashion, which is that she dresses up not to attract men but to intimidate women. Fashion becomes a tool, rather than an identity, though that’s probably still too much for Yajima (or myself for that matter).
Out of all of the funny moments this chapter, the biggest one has to be the reveal of the fujoshi-bait show of the fictional in-universe Winter 2014 season of anime. Suikyuu! is an anime about water polo of all things, a kind of mix between the team competition of sports series (like volleyball manga Haikyuu!!, namely) and the lithe, well-defined fanservice of Free! It even has the exclamation point! From Yoshitake’s reactions to seeing a team of elderly men join in (and thus set up the obvious reveal that Ohno watched it too), I think this is the first time that Nidaime has its own Kujibiki Unbalance, something which is grounded in the tropes and trends of the time that can be a consistent source of discussion for the Genshiken members. At least, that’s the potential, as we’ve of course yet to see more of it.
As Yoshitake and Yajima discuss the Madarame “harem,” Hato shows that he is more accepting of all the complex facets which make up who he is. Given the issue of romance in the air, however, Yoshitake worries that it could end up breaking Genshiken apart.
One of the manga volume extras has Tanaka and Kugayama discussing the idea that romantic feelings can often destroy otaku groups, and to see that “aside” brought to the forefront in the main manga is interesting, to say the least. It’s an aspect of “nerd friendship” that has been left unexplored in Genshiken so far, for better or worse. Madarame had his thing with Saki, of course, but that was defined more by Madarame’s silence, and now that their particular subplot finished with everything out in the open, the potential drama of the current situation acts as perhaps an extension of that. It’s like every time I look at Genshiken another new arc or period is starting.
Of course, the fact that when Tanaka and Kugayama talked about otaku groups falling apart they had in mind the lone girl whom all of the male otaku fawn after, which is completely flipped with Madarame here. I think I wouldn’t be a fan of too big a swing into “club drama” in the venomous sense, as I think it might get way too far from the core of Genshiken (I’d hate to see friendships fall apart), but given where the series has been and my sense of how Kio Shimoku has advanced the story of the new generation so far, I strongly doubt that’s where it’s headed. Even if it does, I think the man has enough skill to execute it well and make it an opportunity for contemplation nevertheless.
This chapter shows once and for all that the projections have been manifestations of various conflicts in Hato. With the other Hato it’s about how he has tried to maintain this dual mental identity such that his “male” self and his “female” self are two separate entities when in fact they are, as the other Hato put it, the same person. When it comes to the Kaminaga stand, however, given what we know now it’s clear that she represents Hato’s repressed feelings for Madarame. As I’ve stated many times before, I find it interesting that these are two separate aspects. Seeing Hato accept and “absorb” them is probably the highlight of the chapter, as it show perhaps more than any other scene with Hato in the entire of the manga a kind of resolution, or should I say resolve? There’s something powerful about seeing those semi-subconscious facets of Hato disappear from the page, almost like the last time we see Madoka in the original Madoka Magica TV series. I find it also significant that Hato now wants to find an apartment closer to the school so that he doesn’t have to change at Madarame’s place. The idea is obviously that Hato’s own feelings for him make that scenario incredibly uncomfortable for Hato.
A first for Genshiken is that we get to see Sue by herself this chapter. Usually she’s with Ohno, or Ogiue, or Angela, but here Genshiken presents the lone Susanna Hopkins, and though there’s nothing surprising about her lifestyle (or the fact that her dorm is a mess!), there’s an almost melancholy feel to seeing Sue without others to bounce off of, for her actions to collide with the sensibilities of others. If it weren’t for the stuff with Hato mentioned above, I would say Sue in her dorm room would have been the most powerful image in this chapter. Also, though it’s hard to tell I think Sue lives in an on-campus dorm specifically devoted to foreign students. My clues are the bits of unreadable English (or other roman alphabet text) on a couple of plaques and the fact that the two other dorm residents portrayed are speaking something unintelligible for Sue.
I also feel the need to talk a bit about Yoshitake, if only because, as much as the old Genshiken characters were into some pretty hardcore stuff, they never spoke so openly and candidly about topics like sex. Of course, Yoshitake’s exclamations come from a place of otaku fantasy and not personal experience, so it’s not that different, but she’s a far cry from everyone else outside of maybe Angela who’s more forward and is more sexually active than Yoshitake is. I think Yoshitake’s decision to title the whiteboard list of Madarame’s faults as “Rame-senpai no koko ga ramee,” which makes it sound like a line from a porn manga, says it all. As an aside, Yoshitake makes a reference to Kamijou Touma (I’ll break that illusion apart”), which I’m sure will please at least a few.
Sadly we did not get to see Ogiue in her hometown, which I was really hoping for. That said, though this may just be my own wishful thinking, I believe that Ogiue could play an important role in all of this because she understands the emotional and relationship damage that can happen when people refuse to communicate with each other, which I think is the biggest “threat” when it comes to a club like Genshiken falling apart.
It’s winter break. After the old guard of Genshiken (+ Kuchiki) discuss Madarame’s sudden romantic prospects from their old school otaku perspective, Madarame finds himself being visited by Yoshitake and Yajima. Of the four potential partners (Hato, Keiko, Angela, Sue), Yoshitake recommends Keiko for Madarame due to her similarities with Saki. The chapter ends with the image of Hato visiting home, where he meets his brother Yuuichirou and Kaminaga, who are pretty much married now if not already so.
A lot of previous chapters have been some sort of closure, whether that’s with Madarame and Saki, or Hato’s feelings, but this one feels like a transition. Between the mention of Yoshitake’s sister Risa taking college entrance exams and Ogiue and Hato visiting back home on top of everything Madarame is going through, it gives me an impression of a change coming almost on the level of Ogiue’s appearance and the shift in focus over to her. Given how many chapters Genshiken II has run already this kind of makes sense, as Ogiue appeared at a similar point.
I’m really impressed with how the manga portrays Madarame handling suddenly being the center of romantic attention, because I find that his concerns and his thought process make complete sense for his character. When given time to dwell on the idea, he imagines a simultaneous arrival of all four at his doorstep, like a scene straight out of Infinite Stratos, because anime and manga are his primary “harem” imagery even more than just straight up pornography. When Madarame hesitates in choosing, his explanation is that it is such an unfathomable situation because he expected attracting even one member of the opposite sex to be a miracle, and given his self-image his words rings with the familiarity of truth. At the same time, I don’t think he’s being entirely honest because if he was really okay with any girl, he would have had some wild times with Angela (who’s gone back to America) already.
In Madarame’s situation I think we can see both the exploration of the otaku or geek mind when it comes to romance, as well as an investigation of the harem genre. Madarame’s attitude towards women is initially a kind of passive desperation, a case of “anyone will do” because just that prospect of romance is so out of reach based on his self-image. When given a choice, however, his mind has to adjust because desperation is no longer the driving force because now he has to take the others into account, as well as what he really wants. Obviously he doesn’t really want a harem ending or just sex based on his actions (or more accurately inaction), and I think he’s realizing that there’s more to consider about a love life than just whoever says “yes” first.
If you’re having trouble relating to Madarame, imagine that it’s about being unemployed (which Madarame is!) rather than about romance. In a situation where someone is unemployed for ages, there’s an increasing desperation for finding a new job, to the point that eventually anything will do. Then, one day a bunch of job offers appear and they’re all actually good jobs. Instead of it being about getting paid, there are now a bunch of new variables to consider. Which job pays the best? Which job seems the most enjoyble? Which one is best for long-term planning? Which one is a once-in-a-lifetime opportunity? If not unemployment, then college also works. Which is the best school? Which is the most affordable or convenient? Which has the subject you want to study the most? There’s a lot more to think about, and of course it’s literally impossible to choose all of them.
All of this puts the typical harem or pseudo-harem anime complaints into a different light. You might hear people say, “Why is the harem lead such a wuss? If I were him, I’d have a go with everyone.” Although many harem leads are generic and neutral characters and that lends itself to that ambiguity, I think generally harem series deep down operate under a moralistic frame which some see as over-valuing virginity or passivity, but which I find to be about not being able to fully escape a sense of empathy (this is why fans tend to have a “favorite pairing”). In order to maintain the fantasy in harem series this aspect typically isn’t terribly prominent, but with the greater realism of Genshiken it comes more to the forefront.
The rest of the chapter reinforces this feeling as well. When the guys are huddled in Madarame’s apartment reading doujinshi, Kugayama brings up the idea that even most otaku who are all into the 2-D girls and such aren’t actually against being with real women, which references an older conversation back in the earliest days of Genshiken when Saki asked about this same topic. Being between all otaku men who are aware of this, however, the conversation becomes more about that otaku image in flux. The battle lines drawn a few chapters ago between virgins and non-virgins comes up again here, as Tanaka with his steady relationship and Madarame with his new circumstances seem to flutter beyond the horizon where otaku are not supposed to reach and yet clearly have. Genshiken has become about how the concept of otaku is in flux, but we rarely get to see it from the older generation’s perspective, so I appreciate this.
Although the chapter is mainly about Madarame, it’s also a Yoshitake chapter in that she’s very prominent in the latter half of the chapter. Yoshitake’s nerdish vibrance is on full display here, whether that’s obscure history references, her now-familiar knowing glances at Yajima, or the fact that at the end of the day she’s still that girl who ignored the opposite sex in favor of debating history from a fujoshi perspective with her friends in high school. Her reaction towards Madarame’s decision and assuming he really wants a harem is maybe the highlight of the chapter as her head tilts all the way back in shock. This chapter also made me realize how differently Kio uses Yoshitake’s glasses compared to, say, Madarame, as their variable transparency helps to give Yoshitake that sense of energy and slyness.
I sometimes see people complain that Genshiken spends too much time on Hato and not enough on Yoshitake and Yajima. While I think it’s a valid criticism for the most part, I find that one of the reasons this is an issue is because even though the other two don’t get as much focus they’re still portrayed extremely well in their moments and interactions. For example, one of the most significant parts of Yoshitake’s advice is strongly hinted at in this chapter, which is that she’s watching out for her friends in suggesting Keiko as the right choice for Madarame, as she doesn’t want to hurt Yajima. Moments like these make you want to learn more about them, because if they were boring or uninteresting no one would care. Nobody ever asks about Kuchiki’s backstory, after all.
As for Yoshitake’s recommendation, I know there have always been fans of Madarame and Keiko, even going back to the days when the original Genshiken series hadn’t even finished and there was no real inkling towards this pairing. I gave my thoughts on this pairing previously, but Yoshitake’s logic that Keiko is the most like Saki in that she’s able to talk candidly is pretty interesting, especially because from what little we’ve seen of Keiko’s love life (in that she has one at all), her communication with her boyfriend at the time was pretty poor in comparison to how she talks with “Watanabe.” Madarame’s mental mix-up of Keiko and Saki aso makes me think that it may not only be a matter of personality but that she also resembles Saki in the way Keiko carries herself. If that’s the case, I wonder if this is simply down to “similarity” or if Keiko is supposed to be someone who’s actually emulating Saki. Kio’s mention of his other ongoing series in the side bar then makes me wonder if indeed Keiko x Mada is the Real Spotted Flowers.
As for Hato, he strikes an impressive figure at the end of the chapter as he works to shovel the snow off of his family home’s rooftop. There’s something about him exuding such a “masculine” aura that feels unfamiliar due to the fact that most of the time the manga shows him as crossdressing. Hato’s interactions with his brother and Kaminaga will be the focus of the next chapter. We see that Kaminaga’s changed her hairstyle, and I wonder if it has anything to do with finding out that Hato basically has a wig matching hers.
In all honesty though, what I really want to see is the other visit home mentioned this chapter, which is that Sue has accompanied Ogiue back to (I assume) her hometown in Yamagata. Not only is there something potentially wonderful about Sue interacting with Ogiue’s family, but we’ve never actually seen Ogiue’s relatives at all. The best we’ve gotten is that Ogiue once mentioned having a little brother, but it was part of a hasty explanation after being outed as a fujoshi, so we don’t even know if this little brother actually exists.
I hope we find out.
When it comes to the adaptation process of Genshiken Second Season as an anime, most of the time the changes ranged from minor to medium at best. Here at the very end though, we’re presented with an actual 100% original anime episode to wrap things up. As such, for the first time I’m going to be applying the level of detailed analysis I usually reserve only for the Genshiken manga to the anime.
In the previous episode, Madarame revealed that he had decided to quit his job, and Hato has ended up blaming himself for this turn of events. Seeing that Hato has been avoiding Genshiken for weeks, the club invites Hato and Madarame to a hot springs so that they can relax and Hato can move forward, much in the way that Ogiue was able to have her own breakthrough. Hato, originally planning to stop crossdressing due to the perceived troubles it’s caused, gets some advice from Madarame: basically, just do whatever you want until you don’t want to, stop, then start up again if you feel like it. It’s no big deal. Hato decides to continue his ways.
On some level I think that this final episode is an attempt to finally get the Karuizawa arc (the point in the manga Ogiue finally learns to accept herself) into the anime. At this point, Ogiue is no longer really the focus of Genshiken, so it wouldn’t fit quite right to have them just devote around three or four episodes flashing back to the pre-Nidaime days, but it’s also such a significant part of Genshiken‘s story that its absence has been felt rather strongly both among fans and just in that something was missing from the anime the whole time. After all, for those who’ve stuck strictly to the anime adaptations, Ogiue somehow went from a frustrated and antagonistic individual to a somewhat gentle but still easily flustered mentor, and there was no explanation, at least until now. Even if it’s just a few brief glimpses, I’m glad to see part of Ogiue’s breakthrough animated.
With Ogiue’s desire to help Hato the same way that she was helped back then, not only do I see Episode 13 as a place for the Karuizawa storyline to make a “cameo appearance,” but I consider it to be a spiritual successor of sorts as well. In particular, Madarame’s advice to Hato resembles Sasahara’s words to Ogiue, that you can’t help what you like, only tailored to a less traumatic and dramatic situation. There’s no realization of love here, only the comfort of acceptance., andMadarame’s reached his own turning point in life, so he can look back and reflect for Hato. In addition, the discussions of collaborating on the next “Mebaetame” clearly point to the idea that Genshiken the club is a family of sorts, and a place for people to change through interacting with people both like-minded and otherwise.
Yoshitake’s presence in this episode is notable, as I think that as much as the show put Hato into the spotlight, Yoshitake (or should I say her voice actor Uesaka Sumire) has still ended up being a mascot of sorts for Nidaime. She’s that nerd you put out there to show how fashionable nerds can be, and I think just having a couple of scenes primarily of her geeking out over history from a fujoshi perspective is a part of the character’s position.
This is the first time that a Genshiken anime has seen fit to wrap things up with original content, though it makes sense because previously they had sort-of-okay stopping points and this time around if they had continued to just follow the manga, there would be no proper wrap-up for the series. The only thing viewers would get is more questions and perhaps the worst case of “READ THE MANGA” ever. Thankfully this isn’t the case, and even if I’m aware of the fact that there’s so much more material out there, this is a respectable bookend. Also, in what I’m sure is an intentional move, both the final episode of the anime and the latest chapter of the manga involve public baths, but the two are actually completely different in terms of narrative development and content outside of a more general theme of honestly expressing oneself, and so a comparison between them isn’t that useful.
This episode is also apparently a place for the people who made it to go wild with the references. A lot of the legwork was already done by the blogger Orezui, so I have to give ‘em thanks.
1) “She’s not here! There’s no Hato-kun here!” is apparently a Patlabor: The Movie reference.
2) “Let’s go to the roof. I haven’t felt this angry in a long time,” is a line from the manga Salaryman Chintarou.
3) “But I can’t go [out] with a guy” is a direct reference to a line from Ogiue during the Karuizawa arc, also parodying the fact that Sue did something similar in Episode 1.
4) Sue’s obsession with taking pictures of everything related to the city of Tachikawa mirrors Yui and Mio’s initial reaction to London in the K-On! movie.
5) Kuchiki’s creepy run comes from Attack on Titan (that video above is highly recommended).
6) Sue’s followup attacks are taken directly from Super Turbo-era Chun-Li from Street Fighter II. Specifically, the moves shown are Kikouken -> Jumping fierce -> Close standing fierce -> Senretsukyaku -> Tenshoukyaku.
7) Sue makes a Tomoko from Watamote face.
Obviously I know that this isn’t truly the end of Genshiken, and I hope those who’ve watched it are interested in following the manga to find out what happens next. In retrospect, the anime’s had its fair share of ups and downs, though mostly from the perspective of someone who notices subtle differences in tone and narrative timing, and I think that there’s something about the way Kio Shimoku frames each of his chapters and laces it with bits of characterization that I think gets increasingly lost as he continues to improve these already strong aspects of his work. At the same time, I think the anime generally captures what the new Genshiken is about, which includes an otaku generation gap, the complexities of gender and sexuality within the otaku framework, as well as the on-going process of change, development, and at least a bit of maturity that is college life. So if you’re still interested, stick around.
Besides, we still have that limited edition anime packaged with Volume 15 of the manga.
This month’s Genshiken provides what may be the best use of a pool/bath/hot springs chapter that I’ve ever seen.
As a bunch of the guys take Madarame away to get his hand treated, the rest of Genshiken (and company) go to a public bath to relax and air things out. Angela and Keiko make their intentions regarding Madarame clear to each other, beginning a strange rivalry of sorts between the two. Meanwhile, Hato finally admits out loud that he has feelings for Madarame, while Sue continues to contradict herself every step of the way.
I get the feeling that this chapter plays a lot with standard anime and manga tropes, especially in the fact that it manages to fit in both an extended bath scene and a festival-like environment, but does so in a way which actually leaves the guy at the center of all this drama literally at home. Obviously with a chapter that takes place almost entirely in a bath there’s bound to be an element of fanservice, but I found it also to be quite enlightening. This isn’t just referring to Hato finally coming to terms with himself, but just the way everyone involved communicates so openly. It’s as if the abundance of nudity this month is a metaphor for simply baring it all: no boundaries, no restrictions, just the truth from the heart (at least in most cases).
There’s actually a lot of information and development this time around, and it’s presented in a way that I think has become characteristic Kio Shimoku, more refined than ever as he continues to improve his storytelling ability in manga. This page above caught my eye in particular, because of how well it conveys not only the fact that Ogiue and Keiko’s have gotten a bit closer (by virtue of Ogiue being Sasahara’s girlfriend) just through the page composition and their positions within it, but also how the panel with Angela gives the impression that you’re seeing her from Ogiue and Keiko’s point of view. The height and the angle of the “camera,” as well as the panel following it give this impression. The way you can see Keiko’s confidence falter as soon as she sees Angela is also a nice touch. This is only the second time that Genshiken has done one of these bath scenes, and the last time around the relationship between Ogiue and Keiko was quite a bit more antagonistic, so it’s interesting to see them getting along in a similar setting.
Similarly, Yajima, though she doesn’t do a lot this chapter, actually says a lot. With the way the manga focuses on her at key moments, it really does give the impression that she feels something for Hato, even if it might not be strictly romantic. When I think about it, the fact that Yajima isn’t being particularly body-conscious despite being around Ohno and Angela must mean that she’s so distracted by Hato’s situation that she’s ignoring her own normal worries. I also have to point out that Kio actually drew her naked, and not in a way which is directed at appealing to a chubby lady fetish.
It’s been quite a journey with Hato, and when I look back at my own musings about him from chapter to chapter, it’s interesting to see how my own views have gone. At first, I took his self-assessment in regards to things like his self-image and his sexuality at his word, but over these few years it’s become clear that even Hato himself didn’t quite understand, though it wasn’t as simple as “Hato’s BL obsession was a sign of a closet homosexual/bisexual all along.” I think there’s enough evidence so far to say that his gender, sexuality, and fantasies don’t all perfectly correlate with each other. Last chapter, I wrote about how the “Stand” versions of the female Hato and Kaminaga are meant to be two separate aspects of his psychology, and here it’s made plainly obvious by the fact that both appear simultaneously. The way I see it, the female Hato represents Hato’s fudanshi side, or rather the image of a fujoshi in his mind who can communicate with other like-minded individuals, while the Kaminaga relies on Hato’s view of the real Kaminaga as someone who is always true to herself. This is why it’s the Kaminaga who has made it impossible for him to deny his own feelings about Madarame, whereas Hato has been easily able to brush aside the female Hato’s fantasies. Though having them float above Hato just has me thinking that the two are having a “conversation” in the men’s bath the whole time. It may also be of interest that none of Genshiken takes issue with Hato on this whole matter.
I honestly don’t think there’s going to be a Hato x Mada (or Mada x Hato) ending, and Madarame’s going to be in a position where he’s not just been rejected by someone but had to reject someone himself. Overall, if this is the case it’ll be a serious change for the otaku among otaku.
At this point in Genshiken we’re already familiar with the fact that characters like Angela and Keiko don’t prescribe to the true love romance mantra that appeals to otaku so much, but it’s still kind of refreshing nevertheless. Angela is provocative in more than one sense of the word, and the more I see of her the more I get that she’s actually quite intelligent. Angela’s insistence that Madarame needs “help” after buying “all that doujinshi” and that Keiko “wouldn’t be able to satisfy him,” ends up coming across as measured and calculated. Obviously Angela knows that Madarame is not some studly he-man with an unquenchable thirst for womanly conquest, and so the idea that Keiko wouldn’t be enough for him is clearly facetious. She’s just trying to get a rise out of Keiko, though what I find funny about all of this is that I can see a definite friendship forming between the two. They both want to win out, but at the same time their smiles and even the way they decide that Sue should be the one to go visit Madarame means that neither of them are especially bothered by the idea of losing. There are more fish in the nerd sea, and a bitter competition this is not.
Speaking of Sue, for all of the attention Hato and Madarame get, I feel like in the end it’s Sue who really steals the show this chapter. Her expressions are amazing, even more than Ogiue’s (which I enjoyed immensely).
Though her own emotional turmoil is played for comedic purposes in contrast to Hato’s, I do wonder what’s in store for her. Her development throughout the new series has come in fits and starts, but it’s undeniably there.It’s interesting how Sue is normally immune to embarrassment but here it overwhelms her to the point of violence and frustration, and I feel like I want to say more about her, but I don’t know where to start.
So, I think I’ll save it for the future.
Episode 12 wraps up the school festival. If you want to read my thoughts on the events of the episode, you’ll find them as part of my analyses on Chapters 81 and 83. At this point I’ll have to assume 82 will be covered in Episode 13 or just not at all.
So with all the cosplay this episode, particularly from Ohno, there was a hefty amount of fanservice in the most obvious sense. This was magnified by the fact that they combined two disaparate chapters together to make it an almost “cosplay-themed” episode, but amidst all that more overt fanservice the anime actually added a little something for the Ogiue fans in particular.
This image is actually an anime original, and though it’s just a single frame it communicates a lot of intimacy and perhaps even eroticism between Ogiue and Sasahara. Ogiue never ever, ever has an expression like that, with the wry and suggestive smile as well as the sideways glance towards Sasahara who’s more tacitly responding in kind. The message this image communicates is that Sasahara likes what he sees out of Ogiue, and Ogiue is pleased that he likes that. While you might think that this is me reading too much into it, given their interruption by Sue previously, there’s no doubt in my mind how we’re supposed to interpret it.
However, if you want something that I consider fanservice that probably no one else does, it would be another anime-exclusive moment:
A Go Go Curry parody!
As long-time readers of the blog might know, I am a huge fan of Go Go Curry, and what’s more, the very first Go Go Curry I ever ate at was one in Akihabara. Though there’s no way to tell if the one Madarame is at is the same one that introduced me to the wonders of Kanazawa-style curry, I’d like to pretend that it is.
Really though, Episode 12 of Nidaime actually combined two of my favorite things, Ogiue and Go Go Curry. On some level I have to rank it pretty highly, albeit at a fairly shallow level.
The Mawaru Penguindrum merchandise also helped.
I think there’s little doubt that Madarame’s confession is one of the most significant events in Genshiken. I’ve felt sort of conflicted that it happened because it is possible for someone to move on from a former love without the confession and rejection you see so often in anime and manga, but the series makes it clear that Madarame was incapable of doing so, no matter how hard he tried. Looking back, the idea of “freeing” Madarame to some extent implies making it so that he’ll be open to others.
There’s a fairly significant mistranslation in the Crunchyroll subs, at the very end of the episode. After Kasukabe starts to cry, the translation has Madarame say, “Now I know that Kasukabe-san cries easily.” This isn’t quite right: what Madarame actually says is more along the lines of, “I already knew that Kasukabe-san cries easily.” It’s a reference to the events of Volume 4 of the manga (Episode 11 of the first anime), when Kasukabe accidentally starts a fire which gets the club into trouble. Though she put on a tough face, her guilt over the accident caused her to start crying. Essentially, Madarame’s line is supposed to reference how much he’s paid attention to Saki over the years.
It’s probably significant then that Keiko and Saki both notice how Hato pays a lot of attention to Madarame. Or is it?!
Some of the timing of the confession itself turned out different, and there isn’t quite as much impact from Madarame’s response to the line about the relationship that might have been, but I think the episode overall does an all right job of it. The manga devoted an entire chapter to just the two of them in the club room, mirroring previous chapters which did the same.
As for the actual confession and reaction, I could see how Kasukabe’s response could be interpreted as cruel, though I don’t necessarily think so. One thing anime viewers may not be aware of is that Kasukabe’s line about how a relationship with Madarame might have been a possible future is actually also a reference to another series by Kio Shimoku called Spotted Flower. In it, characters very (but not entirely) similar to Madarame and Saki, an otaku and his non-otaku wife who knew him since college, are married and expecting their first child. In fact, the title itself is a reference to them: Madara means spotted (which also explains the Naruto character), and Saki refers to the blooming of flowers. It’s a sort of holy emblem for Saki x Mada fans, but at the same time perhaps incredibly cruel itself for very nearly giving those shippers what they want before collapsing the entire thing like a house of cards.
I’ve been away for the last couple of weeks so it’s time to do some catchup! Episode 9 covers Chapters 74 and 75. Also, there’s quite a bit of cosplay in this episode, and luckily for me a Japanese blogger Renko’s already laid out all of the references.
Sue = Meruru (Atelier Meruru)
Ohno = Asama Tomo (Horizon in the Middle of Nowhere)
Yoshitake = Inahime (Samurai Warriors)
Sawatari = Kunoichi (Samurai Warriors)
Fukuda = Okuni (Samurai Warriors)
Mimasaka = Leia Rolando (Tales of Xillia)
Yajima = Hirano Kouta (Highschool of the Dead)
Kuchiki = Matsudaira Katakuriko (Gintama)
The sheer amount of Ogiue content in this episode makes me happy, just as it did with the manga. You can really see her take center stage at least in the first half of the episode, and the sheer range of facial expressions that are not coming from deep anger and frustration is quite satisfying. There’s also something hilarious about Sasahara essentially roleplaying as a fictional version of himself.
Speaking of Sasahara, the new voices at this point are old news, but I have to remark that Sasahara’s voice really throws me off. It’s like his old voice was just the perfect shade of average that anything else sounds odd. Moreover, Sasahara doesn’t appear often enough for me to get used to him.
When it comes to adapting from manga to anime, I thought the decision to turn Yoshitake’s exposition into a Star Wars-esque text scroll was clever and properly captured the incessantly convoluted nature of her plot. The manga conveys this through the sheer amount of text in Yoshitake’s word bubble, but obviously that doesn’t fly in the animated format. Interestingly, when Yajima hits Yoshitake with the manga, you can see that it’s a Monthly Afternoon (the magazine Genshiken runs in), with its most famous and longest-running title Aa! Megami-sama on the spine.
(Seriously, Oh My Goddess! is still running).
Another thing I’ve been thinking about is the whole gendered pronouns thing (whether to refer to Hato as a “he” or a “she”), and while Japanese doesn’t typically use gendered pronouns the way English does, perhaps a comparison could be done between which characters refer to Hato as “Hato-kun” and which use “Hato-chan.” Those aren’t strictly gender-divided (guys can be referred to with -chan and girls with -kun), but it may speak to how they personally see Hato.
In the end, of all the things to happen in this episode, I especially hope people are enjoying the new characters’ old friends. Mimasaka comes across as the most shy and awkward of possibly any character in Genshiken (with her voice actor doing quite a good job showing this). You can also actually hear Yajima slipping into an accent when talking with Mimasaka, which is again a nice touch for the anime. I also have to wonder if Konno’s massive saucer eyes in the opening had people wondering just who she is. She doesn’t appear much, but she pretty much became my favorite of the new Nidaime characters just from her expressions. Given that Ogiue also had fantastic facial expressions, that might just be more indicative of my tastes than anything else.
As for Kaminaga’s debut, I find Noto Mamiko’s performance to be pretty spot-on with what I imagined.
Have you been enjoying the new Genshiken anime? I call the manga of Nidaime “Genshiken II” because that’s how I started, while I call the anime “Genshiken Second Season” because that’s how it’s widely advertised in English. While it makes things easier in terms of separating my anime and manga posts, I do feel a bit contradictory or incongruous in doing so. Anyway, here’s Chapter 91, which is a turning point, the latest of many.
After Yajima talks to Hato in an effort to tell him that he can’t simply dump Madarame onto Angela so he can get back to reading BL, Ohno calls to ask Hato to complete the Bodacious Space Pirates cosplay as the main character. Eager to rid himself of the fujoshi that is his mental alter ego, Hato agrees, but by doing so actually appears to reaffirm his feelings on Madarame. Hato apologizes to Angela, but Angela has other ideas, simultaneously confessing the mutual feelings of her, Hato, and Sue. Madarame, like a deer caught in headlights, tries to run but accidentally slips and fractures his wrist (again) when he sees Keiko.
I quite like how Kio Shimoku writes and draws Angela, as for all of her simplistic character traits she still comes across as a fully developed person. Angela makes various comments about basically having a foursome, but I don’t think we’re supposed to interpret that as her wanting that sort of relationship. Instead, I think the fact that her words intentionally sound like they’re coming straight of an eroge is what’s important. Previous chapters have established that Angela is extremely savvy and strategic when it comes to putting the moves on Madarame, such as Angela hoping that if she’s aggressive enough the timid and virginal Madarame will use her as masturbation material, and I have no doubt in my mind that she’s trying to appeal to that basic otaku side of Madarame, to give him the temptation to fuse fantasy and reality in his mind. There’s also the fact that Ohno stops interpreting out of embarrassment, so Angela has to be as braindead obvious with her words as possible.
Of course, the other component of all this is that Angela is blasting through the ambiguity in a way which normally Sue would, but this is not Sue’s area of comfort at all. It’s funny how the more social and perceptive characters in Genshiken have generally been the ones to point out budding feelings and similar developments where the dorks of the group have been oblivious, like when Keiko nonchalantly asked if Sasahara and Ogiue are dating before they started doing so. Even though Keiko makes only a brief appearance at the end, I think she provides a good amount of interesting material to analyze as well.
When I think about it, Keiko and Angela appear to be approaching Madarame in the same way, by trying to actively appeal to his otaku sensibilities. The way I see it, the key difference is that Angela is an otaku herself while Keiko is not. Angela is using her knowledge of anime, manga, and video games, her experience interacting with fellow otaku, and even how her own mind works, to feed into Madarame’s fantastic desires. Keiko, on the other hand, is giving herself a more natural appearance, maybe even one closer to Kasukabe’s, in an effort to appear less a part of the Shibuya world which most otaku reject. The fact that Angela has a dynamite body may or may not play a factor in this battle.
Hato’s feelings meanwhile are practically overwhelming him at this point, and the clarity that this chapter brings also serves to complicate things further. As silly as this may sound, I find significance in the fact that the “other Hato” has a different breast size compared to the “other Kaminaga” who has been appearing in Hato’s consciousness lately, as it basically means they’re two aspects of his mind. Both are representative of something inside him, but the other Hato, with her larger chest, speaks towards Hato’s ideal of the generic woman he’s aiming to visually emulate. As mentioned before in a 4koma, when Hato crossdresses he tries to have as many “female” signifiers in his appearance, and breasts are one of them. The other Kaminaga, on the other hand, has small breasts like the actual person, which I interpret as Hato tying that persona closer to the real Kaminaga, or more specifically her words, and her ability to cut to the heart of the matter. The fact that Kaminaga is literally the person he was originally trying to emulate has to mean something as well.
Aside from a panel or two, there wasn’t really an Ogiue content this chapter, but I do find an off-hand remark by Kuchiki to be interesting. Kohsaka and Sasahara mention to Hato that there’s nothing quite like the wrath of not so much a scorned woman but a humiliated one, which causes Kuchiki to refer to them as the “非DT,” or “not virgins,” to which Madarame and Kugayama react nervously. While Kohsaka is generally seen as the attractive guy, there’s something hilarious about having Sasahara considered even remotely close to being a stud.
This time, to finish, I’d actually like to talk a bit about the art, which I typically don’t get into much during these reviews. The same page where Kuchiki calls the two of them “not virgins” is rather nice, I think, because of the way the panel of Kohsaka up top anchors that small moment in time, as well as Kohsaka’s words (“I don’t think you can take thing back at this point”). This isn’t just because it’s a large panel, but the lack of a background contrasts with the busier panels before and after, which in turn makes that panel act as both a breather as well as a moment of impact. On top of that, it rests well at the top of the page and makes for a balanced composition. I think in general Kio is good at using these large empty panels, and if you look through previou chapters I’m sure you’ll find more examples.