You are currently browsing the category archive for the ‘fandom’ category.

This post was sponsored by Johnny Trovato. If you’re interested in submitting topics for the blog, or just like my writing and want to be a patron of Ogiue Maniax, check out my Patreon.

This month I received the following topic request:

“Keeping interest in your hobbies through the trials of life.”

I wonder if it’s more than coincidence that I would get this at a point where life is busier than it’s ever been. I used to think I understood what being busy meant, and that keeping up with your hobbies is simply a matter of carving out time, like watching shows during mealtime, or playing a game or reading a manga while commuting. That still applies to some degree, but I realize now that sometimes it’s not possible to carve out bits and pieces of time if your spirit isn’t up to it.

Everyone’s day is a bit different, and if the issue is being too busy for your hobbies, the first question that I think needs to be asked is, does your hobby help you mentally/emotionally? What I mean is, when you’re done working through the day or week, whether that’s at a job or in school or taking care of your family, does watching anime, playing games, etc. make you feel better or worse? I don’t mean this is a narrow way either, like the way “healing anime” is meant to provide stress relief, though there’s nothing wrong with that genre. Rather, there are many different ways that your hobbies might motivate you.

Maybe you want to constantly refine your tastes and experience the best of the best. Maybe you need a good laugh. Maybe you see it as an opportunity to bond with friends. Whatever the case may be, it shouldn’t feel like a burden more than anything else. Even if it’s “work” to keep up, there should be some level of satisfaction associated with it. If you have a completionist mentality, then make sure it provides you more joy than disdain, and if you’re the type who enjoys watching shows you hate so you can make fun of them, at least make sure that it provides energy and doesn’t drain you, whether you see it as a form of stress relief or because you believe you have some responsibility to tell others to avoid bad things.

It might also be possible that you’re so busy that you can barely do one thing, and you feel terrible for not being able to keep up with as much as you like. Not being able to watch or play as much as you’d like is why you’re losing energy and motivation. In that case, I think it’s still useful to prioritize in the way I mentioned above, but to think of your lack of time as an inspiration. Look at all of the things you haven’t done or watched or played, and how satisfying it’ll be when you get to it. If it turns out that it’s not so fun after all, maybe put it on the back burner or drop it entirely if that’s your style. Sometimes not finishing something doesn’t mean you didn’t love it enough, it just means you didn’t finish it. That’s all.

The reason why I’ve spent so much time emphasizing this idea of getting energy from your hobbies is that, if you don’t at least prioritize the hobbies that actually drive you forward or give you strength, then the busy days will feel even longer and busier. The problem of not having enough time to follow all of your hobbies isn’t quite the same issue as the problem of burnout, but they are similar in that they can make the day feel longer, and in fact the former can become the latter if those “hobbies” drain your strength. Again, strength in this context can mean many things, and how you define that is a personal matter.

 

This post was sponsored by Johnny Trovato. If you’re interested in submitting topics for the blog, or just like my writing and want to be a patron of Ogiue Maniax, check out my Patreon.

Touhou is an interesting phenomenon. Beginning as a passion project for a game developer, this ostensibly “amateur” shmup in the tradition of R-Type and Ikaruga replaces spaceships with cute girls, introducing a wide variety of characters with distinct yet generally simplistic personalities. This has given fans plenty of room to position and interpret the characters in their own way, using the barest scraps of evidence as the catalyst for imagination. While not the first franchise to encourage this, with Touhou it’s particularly noticeable given its popularity at doujin events and the like, but it’s also interesting to note what has come in a post-Touhou environment. In particular, I feel like Kantai Collection has to be viewed within this lens, and so this post is mainly about a comparison between Touhou and Kantai Collection from an outsider’s perspective.

On a personal level, outside of Magic: The Gathering, the biggest nerd fandom that I’ve barely scratched the surface of is probably Touhou. Sure, I’ve drawn a crossover fanart between Cirno and Esports personality Day[9], and I’m a fan of bkub (particularly his New York Comic Con special featuring “the Deadpool”), but I’ve never played any of the actual games. In fact, the only Touhou game I’ve ever played is the doujin game Mega Mari, which is more of a Mega Man game than anything else. However, I’m well aware of Touhou‘s presence, if only because my surrounding environment is “other geeks,” and inevitably among hardcore anime fans there will be Touhou fans as well.

The same goes for Kantai Collection, a browser-based strategy game where battleships are personified as cute girls, except I arguably know even less about it. I’ve watched a few episodes of the anime, I know which character design I like best (Tenryuu), and I know that the game plays with supply and demand because you have to win a lottery to even get to play it in the first place. I’m also aware that it’s become Touhou‘s rival in terms of popularity, with a big difference being that Kantai Collection actively employs popular and professional artists, whereas Touhou‘s official art is famously lacking in refinement.

The relationship between Touhou and Kantai Collection is therefore a tricky one in terms of how these respective series have prompted fan production that hinges on interpretation in their fanbases (which also have plenty of overlap).  Whenever I see the two, I feel as if Touhou is primarily this product that just had an intentionally simplistic presentation that fans took and expanded into their own world. Kantai Collection, in turn, with its voiced characters, better artwork, and overall presentation invites that sort of activity from fans, and revels in being able to provide that space.

In other words, it’s as if Kantai Collection saw how Touhou inadvertently had its characters transformed into commodities through the efforts of its fans, and actively sought to replicate that through careful planning and razor-sharp marketing. That means actively trying to appeal to what fans want. Whether that’s a good thing or not is personal opinion, of course, and I’m hesitant to label it as “David vs. Goliath” in the traditional sense, especially because the border between an amateur and professional artist in Japanese games, anime, etc. can be so nebulous. However, I feel like perhaps part of what made Touhou appealing to its fans in the first place is that “amateur” environment, even if it’s indeed populated by professionals. There’s a rawness to it, a kind of unregulated frontier that’s continuously re-shaped compared to Kantai Collection with its carefully measured attributes, that makes more room for the fan to be in a sense also a creator.

 

This is a sponsored post. If you’re interested in submitting topics for the blog, or just like my writing and want to be a patron of Ogiue Maniax, check out my Patreon.

Miyamoto Ariana is the 2015 Miss Universe Japan, and the first to ever be half-black. In an ethnically homogenous society, she has become a figure of both hope and controversy, defying and reshaping how people see the concept of being “Japanese.” One common question to her from reporters has been what she considers about herself to be most Japanese, and her response has been, “But I am always Japanese.”

Setting aside in this instance the legitimate criticism of beauty pageants and the like, I want to focus less on the issue of judging people, especially by women, primarily on how they look, and more about how people perceive the way others “should” look. In particular, I want to focus on another less well-known controversy within fandom from a few years back, which is the idea that black girls shouldn’t cosplay white or “white-looking” (i.e. anime) characters.

This has justifiably received a great deal of blow-back from fans and cosplayers of all ethnicities, with people arguing that cosplay is something that transcends race. After all, it’s not necessarily about replicating the character perfectly in reality. The cosplayer is just as important if not more than the costume itself. However, while not wrong in any way, such an argument still comes from the idea that one is defying the presence of race through cosplay. With Miyamoto Ariana’s victory though, something even more fundamental to this idea of “cosplaying the wrong skin color” enters the equation.

Essentially, when it comes to anime characters especially, black cosplayers are working from the perspective that Japanese-ness doesn’t matter, and they’re basically right. What Miyamoto does is attack this at an even more base level: what does “Japanese-ness” even mean? You can look black, be Japanese, and neither is a compromise of the other, even if the surrounding culture (or subculture) tries to make it seem that way.

Of course, when it comes to both beauty queens and cosplayers, on some level image is important, but efforts by both black cosplayers and Miyamoto Ariana show how the very assumptions that go into how we see things, how we see the relationship between reality and fiction and at what point one appears to be the other, can be challenged and potentially transformed on a societal level. At least, that’s where I hope things will go.

I made a post on the Waku Waku +NYC Blog based on the idea that, in the media, cosplayers are the first people to get attention in reports on anime conventions and other geek gatherings, and that this potentially gives cosplayers a great deal of responsibility. Do you agree or disagree?

I’ve written about a bit off recent news involving an anti-foreigner demonstration in Japan, and the way that otaku mobilized to counter it. You can check it out at the Waku Waku +NYC blog.

 

This post was sponsored by Johnny Trovato. If you’re interested in submitting topics for the blog, or just like my writing and want to be a patron of Ogiue Maniax, check out my Patreon.

As part of my Patreon rewards, I was recently asked to write about “Voca Nico Night,” a series of concerts celebrating Vocaloid music broadcasted over the Japanese streaming site Nico Nico Douga. This topic is somewhat outside of my normal purview, as I will admit to not being especially knowledgeable about Vocaloids or the scene surrounding them (I enjoy the music and recognize the characters but would not call myself a devoted Vocaloid fan), but as I watched recordings of Voca Nico Night I found that the performances seen at Voca Nico Night can be viewed as a reminder that, at the end of the day, talented human creators are an integral part of the success of Vocaloids and the music that is created using them.

The story of how virtual idol Hatsune Miku became an international sensation is the kind of tale that can cause some to proclaim the green-haired, leek-twirling, robot-voiced “singer” as the sign of a glorious future, and others to describe her as the death of music. For years the music company Yamaha had put out a voice synthesis program, but with some improvements to the software and the use of a cute girl in chic, futuristic clothing, things changed. Suddenly it was embraced by composers, musicians, music enthusiasts, artists, and writers both amateur and professional, and you can find countless examples of Vocaloid music, art, and more on sites such as Youtube, Pixiv, and Nico Nico Douga.

All of this has culminated in Vocaloid live concerts, where holographic projections of the Vocaloids sing and dance as live crowds cheer them on. This presents a fascinating contrast in the “life” of the Vocaloid. At the same time that Miku and the others become more “real”, their artificiality becomes even more pronounced. After all, even if she were to be brought into reality, Miku still has the appearance of an anime character, and that stylization and abstraction cannot be divorced from her even they’re re-drawn and individualized by various creators.

This can be viewed as a strength, as Miku’s self, constructed from the effort and desires of millions, makes no illusions about the synthesized elements of her music (as opposed to the auto-tuning that regularly occurs in popular music these days), but for those who believe that music comes from the soul, that way of thinking is certainly difficult to swallow. While I’m more of the former opinion, the latter I think is something worth keeping in mind.

This is where I think Voca Nico Night really shines, because without the expensive holograms, without the explicit desire to see Hatsune Miku or Megurine Luka or the Kagamine Twins, what’s left are the DJs, the musicians, the performers at center-stage, engaging with their audience both online and in the flesh. You can still hear the distinctly robotic tones of the Vocaloids, but their images are not taking all of the attention. Instead, the Vocaloids’ role as tools for producing music comes to the forefront, and while talking about the “functionality” of an actual musician would be crass and unfair, the origins of the Vocaloids means that they can be as “useful” or as “soulful” as one needs them to be. Voca Nico Night exists somewhat opposite the live concerts that get all of the attention, and while I hesitate to use a “yin-yang metaphor,” I do think that having both is for the better.

In many ways it reminded me of the times I’ve attended chiptunes concerts (another scene where I have interest but cannot call myself a true fan). Like the Vocaloid scene, chiptunes creators and fans embrace a type of music often associated historically with a visual component that arguably puts less emphasis on the music or the musicians (video games in the case of chiptunes), but people who love chiptunes use concerts to show their appreciation and their talents outside of what is typically expected out of a “performance.” I have to wonder if Vocaloid concerts and the like are at an intersection between the rock concert where band members are sometimes viewed as gods, the orchestra where the relative significance of the individual musicians versus the composers’ original scores can be argued, and the club where a DJ combines beats and melodies together to form something new.

This month I’m happy to say that the Ogiue Maniax Patreon is currently at almost $100, thanks to my generous patrons both new and old. Even getting close to the three-digit mark is kind of like a dream, and I hope to continue to provide interesting content for my readers.

This past month, I’ve gotten around to making a number of posts I’ve been planning for a while, most notably my review of the fujoshi friendship manga Fujoshissu!, my first look at DLC character Mewtwo in Super Smash Bros. for Nintendo 3DS & Wii U, and my review of the anime about anime, SHIROBAKO. In the case Fujoshissu! I’d been anticipating writing the review of years.

This month’s special Patreon sponsors are:

Ko Ransom

Alex

Johnny Trovato

anonymous (not Capital A “Anonymous”)

One of my contributors wanted to remain anonymous, but because they fulfilled the “Decide My Fate” tier, I wanted to mention them as I am writing a special post this month. As always, if you’d like to request a topic for me to write, you can pledge $30 or more to my Patreon.  If you don’t want to or can’t contribute that much every month, you can always change the amount to something lower, or force a maximum limit on how much you give.

For this month, I’d like to ask what people want to see out of my rewards and goals. I understand that my goals and sponsor rewards aren’t exactly world-shattering, and while I’m certainly not willing to sell myself out, I’m curious as to what people would like to see. Perhaps Skype conversations once a week on any topic? Post requests with unique twists? Drawing requests? I’m not sure if I’d be able to do everything, but I’d like to at least offer more.

In terms of milestones, I’m open to suggestions. How would people feel about a tongue-in-cheek negative review of Genshiken and/or the character review of Ogiue?

If you were to ask me about my favorite fujoshi-themed manga, I would predictably answer that it’s Genshiken Nidaime. However, if you were to ask me this question before 2010 (when Genshiken re-started), I would have said Fujoshissu!: Maniac High School Girls Comedy by Okachimachi Hato. I’ve mentioned it a few times over the years on Ogiue Maniax, and have even devoted multiple Fujoshi Files to its characters, but I’ve never really spoken about it to any major extent. Now that the manga has concluded after seven years of publication, I find that it’s all the more important that I share what has been one of my favorite manga in recent memory.

Fujoshissu! (meaning “We’re fujoshi!”) is the story of three fujoshi friends who have to navigate high school while in different stages of their romantic relationships. Satou Megumi is the artist of the group and meets a classmate working at a convenience store and developing a mutual attraction. Aoi Yuki is the resident cosplayed, who begins the series already dating her childhood friend. Yoshizawa Eri is the writer, and who finds herself attracted to her younger brother’s best friend.

Though this seems to follow more or less the formula of so many other manga and especially fujoshi-themed manga, what appealed to me about Fujoshissu! from the very beginning was its approach to portraying its characters, as well as their connections to both each other and their respective boyfriends. In many manga about female otaku, be they fujoshi or otherwise, characters are portrayed as having their fandoms factor extremely heavily into how they find significant others. Boys will fall in love with fujoshi because they love their honest enthusiasm, or girls will work actively to hide their BL fandom. Though generally meaning well, these series often reduce their characters to bare-bones elements, with little characterization beyond the extent of their fandom.

Though this has changed since 2008 when the manga first began, I do think it’s important to note how much Fujoshissu! treats the fact of their fujoshi identities very naturally, especially in the development of their respective romances. Being fujoshi is shown to be very much a part of their identities, yet it is not their sole defining trait or the only impetus for their interactions with others. Their relationships do not hinge on whether or not they can accept their fujoshi selves or whether or not the boys are either attracted to or learn to love their energy, but are more multifaceted concerns having to do with topics such as concern for the future, worrying about personality compatibility, body image, among other things.

In regards to body image in particular, the character Eri is focused on extensively, and her story really explores the idea in ways that are frequently ignored in manga in general. Eri is depicted as short and chubby, and not just “chubby because the manga says she is” as one often finds in series (Yomi in Azumanga Daioh being a notable example). Though not lacking in fashion sense, she reveals over the course of the manga that, due to having internalized a great deal of bullying she experienced when she was younger, she doesn’t believe herself to be beautiful. To Eri, her fashion choices compensate against her own self-perceived ugliness, and she doesn’t even believe her own boyfriend when he says he finds her to be attractive. The combination of not just having this subject talked about but having a character who at first glance reasonably shows through her design why she would come to this conclusion is remarkably poignant, as is the ultimate resolution of this particular narrative.

Even with subjects this emotionally heavy, however, the manga always feels delightfully romantic and fun because of how close and invigorating the friendship between the three main girls is depicted to be. The depths of their personalities come across in times of joy just as much if not more than in times of pain, and their shared hobby of anime, manga, and BL becomes the lens through which we see this deep friendship. It also embraces a manga aesthetic that for the most part can be called shoujo, but the roughness of the artwork is not quite the same as what you’d normally see, more of a BL style that’s been re-translated back into shoujo such that it embraces the expressive qualities of its own lines much more thoroughly.

Interestingly, Fujoshissu! runs in Sylph a magazine largely devoted to BL stories. While the subject matter of fujoshi isn’t that far off, it also shows that a manga title need not be entirely beholden to its own magazine’s themes, and that readers of BL can have just as much interest reading manga about other topics. This isn’t exactly a revelation, especially with magazines such as the recent Comic it, which advertises itself as being manga for female otaku that aren’t so obsessed with love, but the fact that Fujoshissu! successfully ran for seven years shows that this quality is appreciated.

If you liked this post, consider becoming a sponsor of Ogiue Maniax through Patreon. You can get rewards for higher pledges, including a chance to request topics for the blog.

comicit-issue1-cover

Last month, the publisher Kadokawa Ascii Media Works announced a new manga magazine. Comic it advertises itself as a publication for “adult otaku girls” who “want more than just romance in their stories.” As if to emphasize its defiance of the common trope that manga for women revolve around love stories, its first issue came out on Valentine’s Day.

I find a few things fascinating about the premise behind Comic it. I’ve often seen readers, male and female, criticize shoujo and josei manga for being so focused on romance, that it seems to come at the exclusion of other possible and interesting narratives. However, it is quite intriguing that the demographic that is assumed to be most dissatisfied with the state of manga for female readers would be otaku, hardcore fans of manga. This also assumes that for many non-otaku readers, the state of manga, and romance in manga, is fine. Of course, the idea that there should be “more than just romance” also implies that the manga in this magazine will still feature love and relationships.

There’s another aspect of their advertising, however, that is less apparent. The term “adult otaku girls,” or onna otaku joshi, essentially indicates grown women who are otaku, but are still girls at heart. Though they continue to age, they’ve never let go of the thrill of being otaku. In a way, this seemingly feeds into the celebration of you that is common to Japanese culture and its portrayal in anime and manga, but I wonder if it’s also a jab at it, that youth is a product of the mind, rather than the body.

Below I’ve translated a chart included with the article on Natalie Comic linked above, which is designed to help readers figure out which stories in Comic it they’d enjoy. Note that all of the possible results emphasize the word “girl” instead of “woman” in the same manner as described above, and that there are some… interesting… yes/no questions on this chart.

comicit-chart-translation

According to the article, these categories indicate the following.

Kizuna Girl: You’re into families and brothers, and are moved by connections and bonds.

Mama Girl: You’re into helpless guys and the dramatic joy of seeing them change, as if you were a mother or older sister.

Fujoshi: You’re into buddy stories and past connections, and special relationships between guys

Subculture Girl: Though you appear to be just like everyone else, you’re actually a little peculiar, and you’re interested in philosophies of love that are a bit different.

I’ve yet to read Comic it, but I’m highly interested in doing so. I’ve already ordered a volume, and  plan to review it for Ogiue Maniax in the future.

If you liked this post, consider becoming a sponsor of Ogiue Maniax through Patreon. You can get rewards for higher pledges, including a chance to request topics for the blog.

I’m someone who’s interested in anime and manga about “nerds,” be they otaku, fujoshi, geeks, or any number of labels. I’ve spent a lot of time looking at this stuff, and I’ve noticed that often when a character speaks using internet lingo in real life, the translation to English, whether it is official or fan-derived, often utilize some fairly offensive terms. A riajuu (someone who is content with their real life situation) becomes a “normalfag.” An otoko no ko (a boy who dresses rather convincingly as a girl) becomes a “trap.” On the one hand, it would be simply a matter of just not using those terms. On the other hand, I could see the argument that if a character is, say, someone who spends most of their time on internet messageboards, that the Japanese equivalent terms should be met with equally ubiquitous terms among English speakers. If term A comes from 2channel, why not look to 4chan for the English equivalent? However, the very fact that the vocabulary has this negative quality makes me feel that there is something buried deep within how internet anime fandom has structured itself that tends towards insults.

Obviously not all anime fans use these terms, but they pop up in a number of places that are not directly connected to the fandom that populates 4chan and similar sites. In this respect, one thing I’ve noticed is that when it comes to how these phrases are used, it’s not simply a matter of trying to offend or upset others. For example, just as often as someone will call another person a “normalfag” or something similar, internet posters will use these terms to refer to themselves. At the same time that such phrases are clearly derived from words being used as insults, they’re also embraced on some level, becoming what I see as self-deprecating badges of honor, somewhat like willingly calling oneself an otaku or a geek. That said, the –fag suffix is clearly meant to maintain its offensive qualities, and as much as attempts are made consciously or unconsciously to separate the purely insulting quality of the phrase from its origins deriding homosexuals, it is nevertheless still present.

In contrast, “trap” is  a term where the connections to homophobia cannot be denied. This is not to say that everyone who uses the word is trying to be insulting, and even I’ve thrown the term out in the past before later reconsidering my own vocabulary, but the origins of the term and the implicit meaning behind it is obvious. The basic etymology is that an extremely feminine male character excites a presumably straight guy, and when he finds out it’s really a boy it makes him feel “tricked.” The important thing to consider here is that this is not merely some imaignary scenario but that people have genuinely felt this way, and the term is on some level a way of maintaining a sense of heteronormativity. Just the same, however, is the fact that some of those guys who have been “fooled” into arousal eventually realize that they are especially sexually attracted to the concept of the crossdressing boy. Whether or not that makes them actually gay or not (Is attraction towards men somehow solely about the “penis” or is it something more holistic? For that matter, what about the Kinsey scale?), often I see the term “trap” then used willingly, from people asking for more. Again, as with “-fag,” there’s this sense of mild self-hatred with use of the term trap, because just as people announce their love for them there’s also the implicit idea that they are not normal because of their interest and do not consider themselves normal. In some cases, they might not even be realizing what they’re saying.

What I find is that these terms are turned against others, as if to maintain divisions (we’re this way, you’re that way), or they might turned inwards to be used as a defense mechanism to keep outsiders away. Can a person survive the barrage of insults they receive and still be there? Are they “one of us?” To share a common vocabulary, after all, is one of the easier ways to become “accepted” in a community. At the same time, the fact that these phrases are often used in a self-deprecating manner communicates the idea that they don’t necessarily feel as if they belong to the majority, be that the majority of society or the majority of an immediate online community. The easy thing to say would be that this all derives from “hate,” but the fact that it appears to be “hate” not only for others but also for oneself leads me to believe that the use of these terms is an attempt to carve out an identity while feeling somehow “abnormal.”

If you liked this post, consider becoming a sponsor of Ogiue Maniax through Patreon. You can get rewards for higher pledges, including a chance to request topics for the blog.

 

Interested in Supporting Ogiue Maniax?

Twitter

Got anything to say?

Archives

Follow

Get every new post delivered to your Inbox.

Join 1,858 other followers

%d bloggers like this: