You are currently browsing the tag archive for the ‘madarame’ tag.
Since the last chapter, Madarame has been mulling over Hato’s Valentine’s chocolate. Feeling a sense of happiness over receiving them yet also confused and alarmed by this very reaction, he seeks the advice of Kugayama, who is the only other guy out of the old Genshiken crew to not have a significant other and thus won’t spill the beans to the girls. As the two get increasingly drunk over some barbecue, Madarame reveals where he believes the confusion lies: to him, Hato is a man and therefore someone Madarame can relate to, whereas women are so foreign to him that he doesn’t know how to even begin dealing with their affections. Kugayama suggests going to a soapland to help him get over his fear of women, but realizing that it’s probably too big a jump for either of them they consider instead going to a cabaret club, more specifically Keiko’s.
For a chapter basically consisting of two scenes and a brief look into Yajima’s attempt to improve her figure drawing with the help of Yoshitake, there’s actually a whole lot to unpack. At this point, it’s something I expect from Genshiken even putting aside my own tendency to analyze the series in depth, but the more I thought about the simple events and topics of this chapter, the more complex the exploration of otaku sexuality and its perception in the otaku mind becomes.
Although I’ve had to re-assess the manga’s messages when it comes to attraction and sexuality a number of times, at this point one thing continues to be certain: Genshiken presents the idea that one’s “2D” and “3D” preferences neither overlap entirely nor are they truly separate. It wasn’t that Hato was in denial when he originally said his preference for BL existed purely in the realm of doujinshi and the like, but that he honestly felt that way. However, as we’ve learned, even the distinction between “2D” and “3D” is tenuous, as the characters of Genshiken ship real people (or at least imaginary approximations of real people). I would argue that BL was not Hato’s realization of homosexuality, but something which made the idea a distinct possibility in his mind that helped him to clarify his feelings for Madarame.
While I don’t think Madarame is having the same thing happen to him, I do think his actions in this chapter reflect a similar semi-disconnect between his 2D and 3D desires. Consider the fact that one of Madarame’s warning signals was that he began re-playing his otoko no ko eroge. One would expect the situation to be that ever since Madarame received the chocolates that he began to look into those games, but he in fact had them for a while. While Madarame maintained is self-identity as heterosexual, he was playing those types of games the whole time, and as implied in the chapters where he first discusses his experience with those games, it’s less about being into guys 2D or 3D and more about the use of sexual expression coded generally as “female” in otaku media that appeals to him. Hato, who similarly performs “femininity” looks to be hitting the same triggers in Madarame, and the very fact that this deliberateness in the end positions Hato to be male is also what makes Madarame feel as if he can relate to Hato better than any woman.
The female sex is something Madarame has viewed his entire life as a realm of distant fantasy, only barely entering his purview of reality when Kasukabe suggested that maybe they could’ve had something if circumstances had been different. This, I think, is why Madarame has trouble deciding what he feels in reaction to Sue and Angela (via Ohno) giving him romantic chocolates as well. Madarame has expressed interest in 2D characters similar to Sue, and there’s no doubt that he finds Angela attractive on some level, but they’re a foreign existence, both figuratively and literally. In that sense the anime girl and the real girl are equally “farfetched.” This is also what makes the Chekhov’s gun that is Keiko’s heavily photoshopped business card so powerful. Not only is it the case that Madarame’s refusal to visit the cabaret club back in Chapter 59 potentially overturned the next chapter, and not only is Keiko one of the other girls into Madarame, but Keiko herself plays a “character” at her workplace. Even firmly within the realm of “3D,” the line between fantasy and reality blurs.
Another thing I find interesting about this whole notion that Hato’s feelings are easier to respond to because Madarame can relate to them as a fellow guy is how this somewhat mirrors one of the reasonings touted for why people get into BL of shounen manga. Traditionally, female characters and love interests in battle/sports/competition manga have been on the sidelines, and most of the displays of fiery passion consist of male rivals and enemies confronting and antagonizing each other, which leads to more time and effort to devoted to those relationships than the ones between the hero and his would-be girlfriend. While this isn’t quite the same as what Madarame and Hato have, what is similar is this concept of guys being able to understand each other on some deeper level (or with girls in yuri), whether it’s intrinsic or something that’s developed over time. In the case of Madarame, it’s perhaps an inevitability given his inexperience with women. In a way, Kugayama’s solution of breaking the “mystique” of the opposite sex through the use of a “professional,” while extremely typical in various cultures (there was even a King of the Hill episode on the subject) is itself also a breakthrough for the otaku-minded, as it involves a desire to get away from the ideal of sexual purity and enter “reality,” though even that conception of the world is fueled by a fantasy. There’s a more I could say about Kugayama as well, but I’ll leave it alone for now except to say that Kugayama in some ways occupies Yajima’s position.
As for the scene with Yajima, Yoshitake, Hato, and Sue, although it’s fairly short, it is notable that Yajima is actually trying to improve her drawing despite being previously resigned to suck at it forever, and Hato’s mention that he’s been drawing manga lately is likely going to mean that he’s gotten past his previous dilemma of only being able to draw BL when dressed as a girl and a rather bizarre style when as a boy. The “disappearance” of the two voices that accompanied Hato (his other self and the other Kaminaga) were likely a prelude to this development. I suspect we’ll see more in the next chapter.
Also, Ogiue does not appear in this chapter but is at least mentioned twice, once when Madarame believes Sasahara would definitely tell her if Madarame were to divulge his secret struggle, and once when Yoshitake states that it was Ogiue’s suggestion for Yajima to do some rough sketches.
Sue’s moved in next to Hato and the awkwardness is palpable. The rest of the Genshiken girls pick their horses in the Madarame race: Yoshitake believes in Keiko x Mada, Yajima is for Hato x Mada, Ogiue supports Sue x Mada, and Ohno picks Angela x Mada. Meanwhile, Sue and Hato visit Madarame to take care of him while he’s still recovering from his illness. There, the harem-like scenario prompts Hato to make his intentions clear and obvious.
I find the discussion between the girls about who they think would work best with Madarame fascinating for a couple of reasons. First, you can tell that each girl’s pick has different degrees of idealism and pragmatism. Yajima and Ohno are kind of longshots because of gender and distance respectively, while Ogiue for example thinks Sue and Madarame are a good match and Yoshitake’s preference for Keiko, as she’s explained before, has to do with trying to keep all her friends. Second, I find that it calls back to one of the basic questions of Nidaime, which is what would this club be like if it were mostly girls? Here, we can see how the act of pairing common to female otaku extends beyond simply the realm of BL and into the possibility of heterosexual relationships as well. It’s also interesting seeing them blur that fantasy/reality line, especially with Yajima who digs Hato but is a sucker for the Hato x Mada pairing.
The main topic of the chapter, however, is the rivalry between Hato and Sue. Hato’s begun to make some serious moves, like learning how to cook better so that he doesn’t disappoint Madarame, dropping as many lines as he possibly can to make his feelings all but crystal clear (“I’d like to cook for you again, Madarame, but without Sue around”), and outright mentioning the “harem” atmosphere. Yet, Hato finds that he doesn’t mind being a part of this harem, something which I can only attribute to the very staticness that is at the core of harem manga as a genre. In this state, Hato gets to express his feelings without there being any commitment one way or another, allowing him to participate without the consequences of having “winners and losers.” In other words, Hato probably thinks this is the closest he’ll ever get to really being with Madarame.
If there’s one thing about this chapter that really stands out visually, it’s the intensity of the blushing. Sue, Hato, and Madarame seem to have this reciprocal relationship where when one person’s face turns red, the other’s goes one step further, like they’re having an arms race using their cheeks. The blushing possesses an almost three-dimensional quality, like it fills the very room I’m sitting in, and I can’t tell whether or not I should be blushing as well. I think the key to this is how Kio successfully communicates the escalating sense of embarrassment that the characters, especially Hato, experience in this chapter.
Seeing Sue go wide-eyed over Hato’s soup, for a brief moment, I thought Sue might actually start to fall in love with him instead. Of course, that’s not what happens, and instead you get this sort of grudging respect from Sue for Hato. As stated in the chapter, Sue mainly only eats convenience store bentou (I think the reference she makes in this episode is actually to Ben-To!), and while those things tend to be quite tasty (seriously, they’re really good), it doesn’t match up to the level of a proper home-cooked meal. As Sue becomes increasingly prominent in the manga, I wonder if she’ll begin to express self-doubts similar to Yajima’s to go with her perpetual shyness around Madarame.
Probably the most interesting topic in this chapter for me is the way Madarame feels that he simply cannot rely on harem anime and manga to navigate this situation. His reason is not simply that it’s unrealistic, but that the tendency for harems in shows to keep everyone at arms’ length so that everybody can be happy and the protagonist can have fun without any real repercussions doesn’t work when it comes to real people. Even indecisiveness has its consequences, and as we’ve seen already, it’s a topic where Madarame is surprisingly thoughtful.
Next chapter is the return of Yoshitake’s basketball-playing little sister of questionable tastes, Risa. I’m actually pretty excited, as I’ve been hoping for Kio to do more with her, especially because she had a few plot threads left from last time. There’s no telling if any of them will get resolved, but I’m just curious how she might factor into this whole complex relationship web, given that she also may or may not be interested in Hato.
One last thing: I can’t believe how good Ogiue looks in this chapter. I feel like Kio over the course of Nidaime has been working with somewhat unfamiliar territory when it comes to Ogiue’s character design. It’s substantially different from her old look, and I feel like he’s been gradually getting more comfortable with expressing Ogiue’s character as she currentlyexists in a way which properly captures where she’s been in the past and how she’s overcome all of that. In a way, she almost gives off a Kasukabe vibe, but in a way which is unmistakably Ogiue. The hoodie/dress shirt combination doesn’t hurt, either.
Kio Shimoku, the author of Genshiken, is an elusive individual. Portraying himself as a kind of ape, he so rarely makes public appearances that he is sometimes mistakenly believed to be a woman. In fact, when he appeared for an event to celebrate the Genshiken Nidaime (Second Season) anime, it was kind of a big deal. Thanks to Brazilian Genshiken enthusiast Diogo Prado, however, I’ve learned that photos of Kio do exist.
Apparently Kio had attended an event in Taiwan in 2010, where he promoted the release of his manga Jigopuri (also known as Digo Puri). His desire for privacy is respected here, as none of the photos actually show his face, yet it’s still pretty cool to see the man himself. Obviously I don’t know how he is as a person, but the fact that he looks like a nerd who knows how to clean himself up and dress nicely is a trait also demonstrated by the characters in Genshiken over time, namely Ogiue and Madarame. In fact, he looks pretty similar to Madarame from behind, while in the old Publisher’s Weekly interview with Kio he said that Ogiue is somewhat reflective of his own experiences.
By the way, I wonder how Jigopuri ended up doing in Taiwan.
Volume 15 of the Genshiken II manga came out in Japan recently, and with it a limited edition featuring an OVA (or OAD as they call it) where they animate a couple of chapters from the original Genshiken. Covering Sue’s stay over at Ogiue’s apartment and the group’s new year’s shrine visit, it’s a part of the story that should be completely familiar territory to Genshiken fans, and watching it has made me want to both consider its role or purpose as the first Nidaime OAD and think a little about the story itself.
When you think about it, this OAD didn’t have to be the new year’s shrine visit, but it is in many ways the most appropriate given Nidaime. Ogiue’s trauma and the trip to Karuizawa would have been too long and arguably too heavy for this. The graduation in the last chapter of the original Genshiken would have been nice but is of course more of a finale than anything else. The no-dialogue chapter would have been an interesting part to adapt, but that would negate the entire new set of voice actors they’ve brought in. With the new year’s shrine visit, however, you get various threads which lead directly into Nidaime, particularly what’s been covered by the anime. Ogiue shows her softer side, which plays into her role in the second series. Sue expresses her desire to study in Japan, thus setting the stage for her increased prominence. The forlorn romance of Madarame is in full swing here, expressed almost painfully in its silence. Though Genshiken is in a sense full of turning points, this is a pretty major one in hindsight.
In terms of adaptation from manga to anime, I find it interesting that the characters were made to look like in the original series. It seems like a no-brainer but they had to do things like switch to older hairstyles and even styles of dress in order to capture the visual sense of how different the club was back then. In fact the entire mellowness of the OAD really stands out, and I imagine for anyone who watches it after having only experienced Nidaime, they would notice first and foremost the relative lack of bombastic energy. Even the references are from a different period of otakudom (“Sit, Nekoyasha!”).
One minor but noticeable change has to do with the fact that Ogiue has her default Series 1 hairstyle in the OAD, which is subtly different from the hair she wore to the shrine in the manga. There, instead of having the horizontal “antennae” on the sides of her head, Ogiue has more pronounced tufts of hair over her ears, and most likely creating another set of character design sheet just for this one-off Ogiue hair would have been too difficult or time-consuming. What’s important is that this specific hairstyle was not a fluke or a shift in judgment in the manga, as Kio Shimoku specifically drew Ogiue with that hair on the the limited edition cover of Genshiken Volume 15. Given her dress-up for Sasahara’s graduation a few chapters later, I feel like the purpose of this hairstyle was to show Ogiue trying to pretty herself up a bit (which in turn extends from a longer trend of her getting more fashionable after talking to Kasukabe).
If there’s one thing I really took away from watching this, however, it would be a case of self-reflection, so I hope you’ll forgive me as I indulge in some introspection.
When Ogiue is drying Sue’s hair, she talks about how she’d like to be more like Sue, who isn’t afraid to be an otaku and to just be herself, which Ogiue has been trying to learn. This process Ogiue undergoes in the series is part of why she’s my favorite character, and it’s something I’ve tried to live by as well, to my benefite even, but as I get older I increasingly feel this pressure to not display my otaku-ness so openly. It’s not something I try to hide, but I realize that it’s important to know that sometimes other people won’t quite understand, and explaining who you are and why you love the things you do requires a certain sociability and deftness with words which often escape me. On some level, I worry that the essential advice of “be yourself” is something I’ve begun to creep away from even though it’s been so important to me.
Also, because I’ve managed to become more social and more comfortable over the years, I think what I basically am afraid of is becoming the very person I swore I never would, that person who passes judgment on others for being weird or socially awkward, not because I want to but because I might have lost touch with that feeling. That said, if I’m actively concerned about this, then that’s maybe for the best because it means I haven’t forgotten that idealism even if it doesn’t work out, well, ideally.
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.
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.