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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.
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.
Hato is back home in order to try and sort out his feelings. Kaminaga and Hato’s brother Yuuichirou are there too, and though Kaminaga (who now insists of being called “sister”) does her best to give advice to Hato about Madarame, her fujoshi brain interferes with her words and intent quite a bit. Eventually, thanks to a meeting with Konno and Fuji, Hato realizes that his feelings for Madarame mean he doesn’t want to leave Genshiken, and resolves to head back to Tokyo.
Chapter 94 is the first time in Genshiken that we’ve actually seen a character’s hometown life elaborated upon to this extent. Sure, there have been flashbacks, like Ogiue in junior high or Madarame discovering doujinshi for the first time, but ask yourself this: how many of the characters’ parents have we seen? The answer is just Hato’s.
Hato’s thought process shows that part of his turmoil is his desire to try and justify his own feelings, to try and compartmentalize everything internal into a consistent emotional map. It doesn’t appear to be a matter of latent homophobia, and if I had to venture a guess it might have more to do with trying to defy his past reputation when gossip spread about him reading yaoi and his classmates constantly made reference to how gay he is. It reminds me of a documentary I watched recently where a girl raised by two gay men talked about how she spent most of her life strongly insisting she was 100% heterosexual as a way of fighting back against the people who assumed that gay men would inevitably raise gay children, but eventually realized she was bisexual. Of course, I don’t know if Hato’s situation is quite the same, but I sense similarities. Kaminaga’s advice to essentially not sweat the small stuff, albeit filtered through her fujoshi self, is perhaps the moral of this chapter.
Kaminaga has grown on me more with this chapter. Her new hairstyle (did she dye it or un-dye it?) gives her a real “classical Japanese beauty” look reinforced by panels like the one above, which then clashes heavily with her ever-”rotten” personality. It’s an interesting contrast, and when I think more about it, the fact that Kaminaga is the way she is but has married (or is about to marry? it’s not entirely clear) a super normal guy in Yuuichirou speaks to something a bit different from the other relationships in Genshiken, even Kohsaka and Kasukabe’s. I think it’s because Yuuichirou and Kasukabe are different kinds of “normal.” One is a straight and narrow type, the other is socially successful, and it speaks to how “normal” is a kind of spectrum in itself.
Being Konno is suffering. Her own feelings for Hato turn this into a kind of love triangle, but Hato doesn’t even realize she likes him, and the fact that her advice of “if it’s causing you so much suffering, why not leave the club?” actually helps Hato realize that, yes, he does like Madarame after all. Not too long ago I wrote that a common form of moe we see is a normal life filled with a series of tiny tragedies, and I think that describes Konno’s situation quite well. I can only imagine how Konno would slide further into despair if she knew the person Hato likes is a guy. After all, when Konno originally learned about Hato’s crossdressing, she assumed that her responsibility as the root of all the gossip that had spread about Hato in high school had actually turned him gay, in turn sabotaging her own chances at romance. Of course, this isn’t resolved yet and Hato x Konno might actually become a thing in the end.
The best moment of the chapter in my opinion comes at the very end. We find Kaminaga drunkenly watching Yuuichirou and his old judo club buddies grapple each other under the influence of alcohol, clearly enjoying the fantasies inspired by reality. It’s unclear to what extent the redness of her face is due to alcohol versus perversion. Juxtaposed on the page next to a reference to a Whisper of the Heart reference (for Hato) and a Samurai Troopers reference (for Kaminaga’s own entertainment), it encapsulates her character pretty much perfectly, the manga panel equivalent of a bumper sticker saying “801 Fujoshi 4 Life.”
For any enterprising business folk, that one’s for free.
Speaking of business, Kio’s comments this month are about how Sue is a DLC skin for Akihabara’s Trip, a game where you search through Akiba and find witches by stripping them. Questionable qualities of the game aside, Sue is somehow incredibly appropriate for this, and would probably make the proper Those Who Hunt Elves and Doki Doki Majo Shinpan! references to boot.
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.
In previous episode reflections (a better term than review I now realize), I mentioned how elements from the manga were cut and shifted, sometimes for thematic consistency within an episode, but more often because the Nidaime anime clearly has a particular end goal in mind. With Episode 10, we’re finally able to see whether or not this “cutting of the fat” has paid off, more or less. It already began with the previous episode to an extent, but this is when the revelations truly begin, and it’ll continue into the next episode too.
In this regard, I think that Episode 10 is probably the strongest one of the season so far. Whether it’s because of Mamiko’s excellent performance as Kaminaga, the portrayal of the way Hato’s denial/hiding of his inner self to others weighs heavily on him, Konno’s amazing facial expressions, or some combination of the three, I think that this episode communicates all of the complex emotions which make up Genshiken. The manga chapters were already great and enlightening, and the adaptation does them justice. In some cases, it even makes things clearer. One example is when Hato sees his brother driving with Kaminaga, with the clear implication being romance. In the manga, Yuuichirou’s expression is kind of ambiguous, but in the anime you can clearly see him smiling. It wasn’t necessary, but it helps communicate that information more overtly.
When I say good adaptation, though, I don’t simply mean that it’s accurate or 1:1 in terms of elements. The anime added an additional thing about Kaminaga moving in with Hato and his brother, but in the manga Hato lives on his own in an apartment far from the university so that he can maintain both his BL and crossdressing. They even visited it in one chapter, which was cut from the anime. The original manga also shows that Konno had dyed her hair in between high school and college, while the anime has always been brunette. It doesn’t impact the story much, but it is curious.
Yamamoto Nozomi also probably puts out some of her best Ogiue performance as well this episode. I still give the edge to Mizuhashi, but Yamamoto really displays a sense of Ogiue, particularly her delivery of Ogiue saying that turning your own boyfriend into BL material is “normal.” It really gives off the vibe that this is an area where Ogiue has not only a lot of experience, but a lot of history, while also showing how far Ogiue has come from her previous self.
I really like how the anime took the scene of Sue mimicking Rei from Fist of the North Star from the manga and added the after-images and laser lines from Fist of the North Star‘s anime. Basically, the anime adaptation of Genshiken enhanced its portrayal of a manga scene parodying a famous manga by utilizing the iconic effects from that famous manga’s own adaptation. The Crunchyroll subs do not make the reference obvious: Sue says, “Nanto Kyuukyoku Ougi!” and likely the translator either misheard or didn’t even hear the “Nanto” part.
One of the categories in the Fujoshi Files is “Fujoshi Level,” which is a not-so-serious way of describing just how polluted the mind of a particular character can be. While I actually don’t create specific rankings and try to give just a general impression in them, here you could see an obvious hierarchy: Kaminaga is off the deep end, Ogiue is right behind her along with Hato, and Konno and Fuji are definitely not as powerful. It makes me want to perhaps write up a full Fujoshi/Fudanshi Tier List one of these days.
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.
With Episode 8 comes the second half of the previously discussed chapters of 70, 71, 72, and 73. You can now safely read them for my thoughts on the narrative developments of Second Season up to this point. Did you notice that Yoshitake’s drinking beer now that she was revealed to be 20? Oh, you wacky censorship.
As I mentioned last time, Episodes 7 and 8 mixed things up from the original manga, transforming this episode into a hyper-focused Hato exploration. I think it really does make the show feel even more focused on Hato than the comic. It’s strange to think about, because basically the same things happen overall. The fact that they added a new fantasy scene while extending another one also contributes to this. Funny that right as I said for episode 7 that the current anime cuts things out while the previous one adds new scenes, Nidaime ends up putting in some original material, and racey material at that.
Specifically, the new scene involves Hato imagining Madarame walking in on him and then Hato seducing Madarame. While it’s not entirely out of character for him to imagine such a scenario, it feels like the anime is trying to push that angle harder than it was in the comic. Maybe this was done independent of Kio, or maybe Kio oversaw the addition, but author’s original intent or no, I think little things like that quicken the pace of that particular plot thread.
I don’t want these episode looks to merely be about nitpicking though, and I think the events in this episode can be discussed even further from what I originally spoke about in the chapter reviews. For one thing, I find Hato’s mental comment that male pregnancy may be a new thing for male-targeted works, it’s been a long-standing trope in BL. It’s a funny thing to contemplate, that within the categorical segregation within manga and anime, that ideas arrive at different rates, but that ideas may also cross-pollenate as a result of reaching one before the other. It actually reminds me once again of something Fred Schodt wrote in Manga! Manga!, which is that during the early 80s when the book first came out, the character designs between girl-oriented and guy-oriented stuff began to converge a little, rather than being at their previous extremes. You can say that the current manga and anime industry reflects this as well.
To end off, let’s talk fanservice. There’s a lot of it in this episode, of course more concentrated in the BL-ish areas. Do you want to know what’s fanservice for me?
No, not Makoto and Madarame, more to the left.
Ogiue in a suit. Also this:
Truth be told, I’m still not entirely used to Ogiue’s eyes having so much more detail drawn into them.
Episode 7 of Genshiken Second Season covers Chapter 70 as well as parts of Chapter 71, 72, and even 73 of the original manga. You can read my manga analyses there, though keep in mind that the missing parts of 71 through 73 are likely going to appear in Episode 8, so you might want to avoid them for spoilers.
First thing’s first, I must fulfill the promise I made last time and explain each of the cosplays at the beginning of the episode. I’m sure everyone at least recognizes one or two, but just to play it safe I’ll lay them all out.
Sue is dressed as the ever-enigmatic Princess of the Crystal, from Mawaru Penguindrum (a show I would highly recommend).
Kuchiki is Mr. 2, the master of “Okama Kenpou” from One Piece.
Ohno is the titular character from the popular PS3 game Bayonetta.
Other references include Sue’s “Nu-nu-nu Piccon!” which comes from Ramen Saiyuuki (thanks Anonspore) and Ohno’s mention of “HTT,” or “Houkago Tea Time,” the main characters’ band in K-On! who have a tendency to sit around and snack on sweets.
As I continue to watch the anime, one of the things I find interesting about the Genshiken Second Season anime compared to the Genshiken 2 anime is that where the latter would create additional scenes which didn’t exist in the manga, the current series cuts and rearranges things, and that in both cases it was so each series could reach a specific stopping point. With the previous anime, you even had entire episodes devoted to topics which were only barely touched upon, like how Tanaka and Ohno started going out, or an extended 20-something minute look at Ogiue’s BL fantasies.
I’m beginning to wonder if this relatively sped-up Nidaime is having an effect on how the narrative plays out. In the process of hastening things to get to “key points,” I sometimes feel like the meat of Genshiken gets kind of lost, that the little comments and rambling conversations played out in full have a lot of details and bits of characterization which flesh out the psychology and complexes contained within the characters. In looking again at Episode 6 versus Chapter 69, the manga version puts a strong emphasis on Risa feeling like she’s at a crossroads. Even though she enjoys basketball that if she keeps down this path she’ll never have the opportunity to do other things, a problem I don’t think any other Genshiken character has ever had to deal with. In comparison, Risa in the anime seems a bit…abrupt?
Also, the way the show shifts things around so that each episode contains a specific focus as opposed to the relatively constant shifting of the manga makes for somewhat of a different experience. I do wonder if it makes the show feel even more Hato-focused than the manga. In any case, I may just be over-thinking things here, or valuing the manga in my head too much. If I had approached the anime without the prior knowledge, I obviously wouldn’t be able to make comparisons in this manner, though I don’t know if I’d still feel like something’s just a bit off anyway.
Some other things:
Seeing the show zoom in on Male Hato’s drawing made me really want to see an entire comic drawn in that peculiar style. Even if it isn’t “beautiful,” it could be something great.
In this episode the series once again references Ogiue’s past with the assumption that you’d already read the first series, though at least this time the anime’s provided some information in a previous episode about those traumatic events. I feel like there’s a small issue with the Crunchyroll translation in that scene: when Ogiue remembers her past collaborations with Nakajima it’s not that they “usually don’t work out” but that it largely didn’t work out for Ogiue in particular, referencing the fact that her last collaboration with Nakajima was the foundation of Ogiue’s eventual suicide attempt and years of psychological turmoil. It’s sort of nitpicking, but I think that the context is pretty important, and that the translation should reflect that more thoroughly.
As always, I also like to keep track of the voice actors for new characters, which in this case is just Yajima’s old friend from high school you see in the flash back. The mousey friend is voiced by Akutsu Kana, who hasn’t done a lot of work, but was Henrietta in Gunslinger Girl: Il Teatriano.
As for the lack of romantic experience with Yoshitake and Yajima, I think it sort of shows 1) why the club was initially intimidating for Yajima and 2) Yoshitake is extroverted and excitable but not a master of all things. As I did in the manga, I also liked Yoshitake’s statement that part of fashion is communication between girls, albeit in this case aggressive communication. It’s a small way of saying that girls don’t necessarily dress up to be attractive to the opposite sex, as is often assumed when looking at girls who do dress boldly.