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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.
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Chapter 111 of Genshiken II more or less features Madarame on top of Hato for the entire duration. Is it a sign of Madarame’s feelings gradually changing, an extended comedy scene, a heart to heart pep talk, nerds nerding it up, or something more?
I find it very appropriate how the conversation between Madarame and Hato goes, with respect to the mix of anime/manga analysis, sexual confusion, genuine desire to help, and how all of this connects to the basic premise of Genshiken as the story of a club of awkward otaku. Almost as soon as Madarame accidentally falls onto him (see last chapter), Hato starts to talk about Madarame as a “lucky pervert” (lucky sukebe), the trope often found in anime and manga (especially harem series) where guys and girls will accidentally fall on each other in compromising positions. Like gusts of winds blowing skirts up, it’s generally regarded as something that only conveniently happens in fiction. By mentioning it, Hato attempts to deflate situation and, as we can later see, to avoid having his imagination go wild. “It finally happens, but it’s when I’m a guy. How unfortunate for you.” While “This isn’t manga!” has itself become a trope of Japanese comics, here I think it’s used to different effect as a way to highlight Hato and Madarame’s characters.
I believe the fact that Hato is a guy during this situation is an important factor, and not simply for the possibility that Madarame might be feeling something for Hato even without his female guise. Rather, it’s because Hato is a guy that Madarame can speak comfortably to him in this situation and even encourage Hato to not be so down on himself. Madarame basically says to Hato to stop mentioning “reality” as if it’s the final destination, the end of hope, the cruel master that rules over him, and uses his own feelings about Hato giving him chocolates as the example of how Hato’s actions have meaning, pperhaps playing into the idea that reality is a social construct and that people can attempt to change reality through the same channels. At the same time, he engages in a dialogue with Hato that follows a similar flow to the typical Madarame/Genshiken discussion over anime, manga, moe, and other otaku topics. In a way, because Madarame has a tendency to freeze up when confronted with the opposite sex, even though it’s clear that he is attracted to them, all of this could only have happened when Hato was a guy.
As mentioned above, Hato tries to use otaku talk to deflect, but Madarame actively engages with it to bring the situation back to “reality.” I think it’s because, while Madarame certainly doesn’t confuse fantasy for reality, he long ago embraced his 2-D complex and his love of anime for all of its worth, seemingly at the expense of his connection to the real world. Of course, the current arc with its emphasis on potential romance for Madarame is partly about how much this has changed, and the more I think about it, the more I find it interesting just how these two characters, as well as every other character in Genshiken, approaches that anime/fantasy vs. reality question in different and fascinating ways. It’s actually one of the topics that’s been with Genshiken throughout, and perhaps it should be the subject of a future post. It’s been a long time since I wrote about Genshiken outside of these chapter reviews, after all.
I think at this point it’d more than make sense for Madarame x Hato to happen, but at the same time I find that the other girls have their own interesting interactions with Madarame as well, so it’s not like this one outshines the others. In that sense, perhaps Genshiken provides more of a “harem” feel than most actual harem series, because often times those will have one girl clearly stand out among the rest as the “main heroine.” For Genshiken, all of the possible Madarame romances have potential, and all operate under different dynamics. Connected to this somewhat, when Madarame brings up the topic of BL, which Hato tries to mentally resist, he says that this situation isn’t right for Madarame, who’s supposed to be an “uke.” While admitting that he doesn’t really know anything about BL in the first place, Madarame replies that Hato is the only person out of the “harem” where Madarame would probably be the aggressive one, even if alcohol were to be involved.
Upon reflecting on Madarame’s words, I find that he’s actually right. Only Hato would end up in this situation because Angela, Keiko, and Sue are very strong-willed. With any of the three girls, with the possible exception of Sue, it’s hard to imagine them even in that position, and if Angela and Keiko were it’d probably be of their own devices, an intentional seemingly passive action to appeal to Madarame’s otaku senses/fear of women.
In any case, I feel like this is a point of no return for Madarame and Hato, not least because they were “interrupted” by Kuchiki, rather than breaking apart of their own volition. Whether or not it ends in love, pain, or just mutual yet awkward friendship, they’ve arrived somewhere new.
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A few months ago in the February status update, I mentioned that I tend to keep a few posts in reserve and then never get around to posting them for one reason or another. Recently though, I’ve had a lot of crazy things happening in my life all at once (mostly good things, I assure you). It’s made me a bit short on time, and because of that, I’ve had to pull some of those pieces out of the old filing cabinet (I have never actually used one of those), such as Internet Culture, Fandom, and the Tendency to Offend. I think a part of me always felt unsure about it, but it’s turned out to be quite a popular post, so maybe I should’ve sent it out into the wild sooner. I sometimes strike when the iron is lukewarm, as might be the case with my post on the new female otaku-oriented manga magazine, Comic it, which touts itself as not being so obsessed with romance.
I also had the opportunity to attend the New York International Children’s Film Festival for the first time in years, and it felt good to write reviews of both When Marnie Was There and Mune. I actually have one more film left to review, but due to the above circumstances I haven’t been able to get around to it. Look forward to it in April.
This month’s special Patreon sponsors are:
Though they aren’t listed, I’m quite happy to say that I’ve received a few new sponsors this past month. These recent patrons have declined to be included on the official list of patrons above (even if they’ve contribute enough to qualify), but their support is very much appreciated.
In relation to what I’ve talked about above, I have to ask what my readers think about the times where I post on a subject well after it’s been in the spotlight. I guess this sort of relates to the previous month’ s topic of mid-season vs. end-of-season reviews, but when it comes to very current events, I think I might as well let a Shellder clamp on and force me to evolve. At the same time, I think there’s a certain value to being able to take my time with a subject. I might be falling into that Patreon trap of wanting to write what people want now, but we’ll see how it goes.
After successfully getting a drunk and passed out Kuchiki back to the hotel, Madarame invites Hato to drink and talk. With the help of some liquid courage, Hato pours out his thoughts on crossdressing, his exact feelings for Madarame, and the line between fantasy and reality. After their long and revealing conversation, Madarame gets up, but inadvertently does the harem protagonist thing and ends up in a compromising position with Hato due to a combination of Madarame’s poor physical strength, alcohol, and a rogue shoe.
Chapter 110 is, in a word, heavy. Or thoughtful (insert Japanese pun here). Most of the pages and panels consist of Hato just gradually letting it all out, talking through his issues while trying to resolve them (though perhaps making them worse?), and it really leaves an impression. Though we’ve known for quite a while now how Hato feels about Madarame, to also see a fuller elaboration of Hato’s complex personality and circumstances that has been wrapped around those feelings makes me think that this is one of the most important chapters in Genshiken.
Hato mentions a lot of things, including why he has avoided coming over to Madarame’s after Valentine’s Day (the situation was too much like a BL narrative for him to be comfortable), but what it all comes down to in terms of Hato’s inner conflict is the idea that “reality can never be BL.” It’s a subject that gets talked about a fair deal in both fan and academic circles, because of how BL’s portrayal of homosexual relationships is highly romanticized; some have even called it problematically unrealistic as a form of storytelling that generally appeals more to women than to actual gay men. Are Hato’s feelings too mixed up in his fundashi ways for him to separate his fondness for yaoi from an actual relationship with Madarame, and is that even what he wants to do?
In the case of Ogiue back in the first series, we saw that the answer was “yes and no.” Though she drew doujinshi of Sasahara and Madarame, she said that the fictional Sasahara was more of a character than anything else. At the same time, Sasahara has slowly incorporated bits of his own BL parody’s personality, namely a position as a “strong seme” that thrills and plays into Ogue’s own fantasies. What I find interesting with Hato here is that he’s not so much worrying about treating Madarame like a 2D character but wondering how much he can maintain his own position and life between fantasy and reality.
This can be seen in Hato’s explanation that he’s tried to maintain the “Madarame harem” as much as possible, because his actions essentially push reality as close to the fantasy of the harem series (and Hato’s chances with Madarame) that it can go without breaking the “illusion.” Years ago, I wrote a post (and never wrote a part 2. Whoops!) about how many protagonists in harem series are purposefully passive and indecisive because it means that, not only does every girl (or guy if it’s a reverse harem) get the chance, but the main character through their passivity is essentially free of any true error. It’s a kind of stasis or holding pattern, and in a previous chapter Madarame even comments internally how this is actually untenable in reality (even indecision has its consequences). Hato essentially tries the same thing, but by not being the “center” of the harem, it has something of a different intention and effect.
From Hato’s perspective, Madarame is essentially straight (even if he does play games about extremely effeminate crossdressing boys who get pregnant), so Hato has the least chance of winning Madarame compared to Angela, Sue, and Keiko. Once, Madarame even said back in Chapter 79 that it was “biologically impossible.” Hato believed that the closest he could come to being with Madarame was in this “harem” format. It occupies roughly the same school of thought as “I’m happy if the person I love is happy” (Tomoyo in Cardcaptor Sakura) and “I can substitute my love for another girl with that girl’s twin brother who looks almost exactly alike” (Kana in Aki Sora). It’s likely why Keiko dislikes him so much. As we see in this chapter, though, Hato believes it’s time to move on, and that Madarame should choose one of the girls who are pursuing him.
There’s actually an extra fold in all of this concerning Hato. Even as he realizes that he’s gay or perhaps bisexual and can identify himself that way when dressed as a man, he still wants to continue to crossdress for reasons somewhat unrelated to his sexuality. It helps him to draw as he wants to. It makes him comfortable when talking to friends and making new ones. All along, he’s mentioned that BL and real guys are two different things, and that the crossdressing doesn’t reflect his sexual preferences. It still carries that meaning, but more in that Hato the man who has feelings for Madarame is not 100% the same as Hato the “woman” that loves to discuss BL. Or is that really the case? It seems like Hato himself doesn’t entirely know, though one possibility is laid out in Spotted Flower where the equivalent of Hato is either in the process of transitioning physically into a woman, or has done so already. As that’s supposed to vaguely be an alternate what-if scenario, it’s not clear if this Hato is the same way deep down, but his own view of himself as male or female seems likely.
I think it’s worth mentioning briefly that, within Genshiken itself, we see another character who tries to toe the line between fantasy and reality in Kuchiki, who loves the idea of the girl-boyas, though he’s shown to desire a world more like his anime fantasies than his reality, just as much if not more than Hato.
Of course, all of this has been focusing on one half of the equation for this chapter. What about Madarame? How does he really feel? Though he’s firmly maintained and argued for his heterosexuality, we’ve seen moments where he’s been legitimately confused. Not only does Madarame think about Hato’s words as an example of him being rejected again, but we also see a lot of blushing in this chapter. While I believe it’s purposely ambiguous as to whether his and Hato’s flushed faces are more from the alcohol or their own feelings, it increasingly sets up the possibility that, contrary to Hato’s beliefs, he really does have a chance.
A few questions come out of this. First, has Hato’s active and passive blurring of fantasy and reality (including the fact that he still has his makeup on) “worked” to make Madarame realize that he’s not 100% into the opposite sex after all? Second, would Kio Shimoku actually go through with having the character most representative of the classic otaku in Genshiken be to even somewhat gay? Third, would this cause those afraid of the subject of homosexuality who have identified with Madarame to reject his character, or would perhaps this bring in people who have felt similar to Madarame but don’t necessarily prescribe to heteronormative values?
As the chapter ends and Madarame is accidentally sprawled on top of Hato, I find myself truly unsure of what’s going to happen. I mean, most likely it will be “nothing,” just like it was “nothing” when it came to Sue and Keiko (Angela still has yet to truly make her move). However, whereas in the past I would say that Madarame most likely won’t have any realizations when it comes to Hato, now I’m not so certain. My prototypical otaku character can’t possibly be this challenging.
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This past month I lost one Patreon sponsor while gaining another. While in business this might be called stagnation, I’m actually very grateful that so many of my patrons have decided to continue to stick with me. Of course I can’t hit it out of the park for everyone all the time, so I’m thankful for even one-time contributors.
Speaking of thanks, shoutouts to the following fine folks for being especially awesome patrons.
There are also a few others, but they’ve chosen to remain anonymous, and I can appreciate that.
Last month’s most popular post was, where I wrote about different philosophies concerning simplicity vs. complexity between different fighting game communities. Part of the reason it got so many hits is that I posted it to Reddit myself, but I do think it’s some of my better work. I know I’m more of an anime and manga blogger, but I do have interest in video games and other things as well, and I hope, even if you’re not quite into everything I enjoy, that I can at least make you think.
A few questions for my readers to end off:
1) What kinds of rewards do you think would be interesting for Patreon sponsors of Ogiue Maniax?
2) What do you think of review posts that cover more of the middle point of an anime as it’s airing, as opposed to ones that wait until the very end? They kind of serve two different functions, with the former being more “in-the-moment,” and the latter being more retrospective. I’m aware that some anime fans like to keep up with the new season as much as possible, while others prefer to wait and build up a back catalog, and I’m curious as to which type reads Ogiue Maniax more.
The vacation has turned into a house party. As Keiko and Angela try to butter up Madarame with alcohol and sex appeal, Yoshitake and Ohno give Kuchiki somewhat similar “VIP” treatment. Kuchiki asks Ohno if he can touch her breasts, who unsurprisingly refuses, especially when Kuchiki references Ohno’s tendency to avoid getting a job. Hato gets tired of Angela and Keiko and tries to make Madarame jealous by appealing to Kuchiki, but accidentally makes him pass out from too much alcohol. After some arguing where Keiko and Angela try to use this as an opportunity to be alone with Madarame, Hato and Madarame are tasked with bringing Kuchiki back to the hotel.
This chapter has made me realize that breast-touching, or the prospect of it, has been a recurring theme of sorts in Genshiken Nidaime. I know that might sound kind of absurd, but hear me out.
Between Kuchiki futilely requesting Ohno, Madarame’s risque evening with Keiko, and even the fact that Kuchiki has already indeed crossed this threshold (albeit unconsciously), the “value of boobs” has been present for many chapters. At first glance, this might very well appear to be the descent of Genshiken into something cliche and unrecognizable, but I think that there’s a certain critical or observant eye towards the division between guys and girls that still exists to a certain degree in Genshiken, otaku culture, and perhaps even culture at large.
The reason I believe this to be the case, though for the most part it’s probably just an opportunity for jokes, is that one of the notable differences about the second series compared to the first is the mostly female main cast. It’s a point I and others have brought up again and again, to the extent that it’s arguably not even necessary to repeat, but Genshiken currently consists of this very candid, almost unglamorous look into the lives of these female otaku. Even in this very chapter, you have Kuchiki talking about how every guy in Genshiken secretly wanted to feel up Ohno juxtaposed with three girls in the bath, casually nude, talking casually, while none of them are the “targets” of this desire. On the one hand, breasts are almost a holy grail of manhood, a reflection of the mentality of the Genshiken old guard. On the other hand, girls are letting it all hang out and breasts aren’t a big deal, an indicator of how things are now.
All of this is further contrasted by Angela and Keiko. There’s a certain chasteness among the other characters and even the idea that the boob grab is this life-changing event, and then there are these two characters who are so far beyond the borders of whether or not a guy has touched a breast before, so distant from even the question of virginity, that I can imagine the other people on this vacation seem almost quaint to them. In fact, they’re utilizing their breasts for the exact reason of appealing to Madarame’s innocent awkward otaku mindset, and even the Madarame Harem itself consists of two characters who are highly experienced when it comes to sex and relationships, and two who are absolute beginners. In a way, it reminds me of the image and existence of otaku culture itself, which is in a way childish (this is not a bad thing) but also filled with adult concerns (also not a bad thing), and I don’t even mean that in an “otaku suffer from arrested development” sort of way.
What I think this all leads to is an emphasis that there are many different perspectives at work, to the extent that the idea of the otaku is not as simple and monolithic as it once was. This is perhaps what Tamagomago was trying to get at when he said that the concept of “otaku” as we knew it no longer exists.
While I don’t want to put too much into author intent, it’s a fact that Kio Shimoku is married and has a kid now. He knows and has had the experience of touching a breast. In fact, I bet a lot of manga creators have had this experience, even the ones who draw the most fanservicey, harem-y series around. I have to wonder how much Kio has maintained this theme for the purpose of remembering that being an awkward, unsocial guy who can’t even talk to girls can make it seem as if breasts are attainable only in fantasy, only he’s tempered it by taking into account the point of view of girls as well, not as objects of desire, but as people. In the case of Angela and Keiko, and perhaps even Hato, they’re people actively working to present themselves as objects of desire. Hato himself might be the center of this storm, a male otaku who is also a fudanshi, who has to come to realize his own sexual orientation, and who actively works with symbols of the feminine both inside and outside of notions of romance. Even this chapter features male Hato in makeup for the first time, as if to say that the borders within himself are becoming nebulous. That’s not to say that guys can’t wear makeup, but for Hato makeup has a very specific function.
This chapter review has turned more into a small essay, it seems. I think I’ll cut it short here so I can mention a few other things. Yajima’s mom continues to show that she’s more Yoshitake than Yajima. Mimasaka continues to confirm that her attachment to Yajima is probably something bigger. In the extras of Genshiken Volume 17, Angela tried to send Madarame some dirty footage of herself for Valentine’s Day(whether it’s photos or video they never show or say) , but they got intercepted and destroyed by Ohno before reaching their destination. I have to wonder if Angela is operating under the assumption that he was able to see it.
As always, I prefer to end each review talking about or showing something Ogiue-related, and sadly I could not fit “on the title page Ogiue is wearing that boob window sweater that’s become a popular meme in Japan” into what I was talking about above. It’s the obvious joke, that Ogiue doesn’t have the size to properly fill out that sweater, an idea that fan artists have already leaped on with other similarly-proportioned characters. While I know that Genshiken is full of references to popular culture (Sue makes references to both Dragon Quest and Sakigake!! Otokojuku this month), it’s much rarer for a meme of this kind to reach the pages of Genshiken. At the same time, no one really draws Genshiken fanart, so I guess it’s up to the creator himself to undergo the task.
What’s funny is that, if not for the boob window, this is very much the kind of outfit that Ogiue would wear.
A couple of months back, Anime News Network announced that they were interviewing Kio Shimoku for the release of the new Genshiken Second Generation (aka Genshiken Second Season aka Genshiken Nidaime) bluray set. The interview is now up, which you can read here. Kio speaks about topics such as why he decided to introduce Hato to Nidaime, how he feels about otaku culture.
Kio actually answered my question, which I’m totally stoked about! I’ve reproduced it below, though I’m sure you could find it by just hitting “ctrl+f Ogiue.”
When it comes to Ogiue, one of the more notable visual changes is how her eyes are drawn. As this quality is unique to Ogiue in Genshiken, why did you decide to express her mental and emotional growth in this manner? Additionally, is it something you planned to do from the start, or was it something you developed as you worked on the manga?
It was accidental and naturally developed.
To put emphasis on her unfriendly look and distant nature, I designed her eyes without the highlight. After her mental transition, those characteristics changed and the initial design for her eyes simply didn’t work anymore.
It’s not surprising to me that the change in Ogiue’s would have come from a whim of sorts, as this is the case with a lot of creators and their characters. As much as I love the original Ogiue’s eyes, it also makes complete sense that they wouldn’t work nearly as well as she began to truly open up to Sasahara. It’s also quite noticeable how differently she looks and behaves compared to her former self (something I’ve tried to show off in my new banner).
The 0ther answer I find most interesting has to do with how Madarame’s “harem” has developed, because Kio states that it’s something of a natural progression. There were already characters interested in Madarame in some capacity, and when Saki finally rejected him, it opened up the playing field, so to speak. He wasn’t suddenly popular, they just began to be interested in him for just the way he is. If I were to interpret it further, it’s not like Madarame became the image of the attractive guy, but rather that he attracted exactly the type of people that would be into him.
As for the rest of the interview, it’s really worth a read and gives a lot to think about, especially when compared to his old interview with Publisher’s Weekly back in 2008. At the time, Kio expressed a lot of discomfort with the increasing attention otaku were getting in the media, and even in this ANN interview he talks about how he came from the generation where people were ashamed to be otaku. It’s really fascinating to see this mindset play out and evolve over time, as well as how the concept of “otaku” itself has become more nebulous. In fact, this sentiment has also been expressed by Tamagomago, who calls himself an old-type otaku standing in the face of these changes. In a way, it makes me wonder if Genshiken Nidaime is an attempt to navigate this newer environment in a way that embraces it, rather than shunning the unfamiliar.
It’s been a little under a month since I’ve began my Patreon, and I’ve been very pleasantly surprised to see so many people interested in Ogiue Maniax.
I’d like to thank the following patrons for their support:
Johnny Trovato (don’t worry, your patreon reward post is on the way!)
In all honestly, I thought I would receive $10 a month tops, and it’s now six times that amount. This means a new banner for the blog, which hasn’t been changed since Ogiue Maniax began in 2007.
I designed and drew the whole thing myself. You can see it above now, but just in case it ever changes, I’ve also included it below, as well as the original banner:
I hope that I can continue to show some good work that will make you think, laugh, and maybe sometimes groan.
Finally, I’d like to ask a question to everyone. I recently posted a translation of an article by Japanese blogger Tamagomago. Do people want to see more translations, at the possible expense of other content?
In Chapter 108 of Genshiken II, Yajima’s mom plays “Are you a Man or a Woman,” Yajima tries to get closer to Hato, and the club meets Yajima’s dad. As Kuchiki has a surprisingly heartfelt moment.
I think Genshiken in general has a knack for conversations that feel natural while reflecting the awkwardness of its characters, and nowhere is this more evident than in the scene between Hato and Yajima this chapter. As Hato and Yajima are going to pick up Madarame and Kuchiki from the nearby hotel (motel?), Yajima begins to talk to him about his comic. It’s the one subject where she believes that they’re on roughly even ground and that they can both relate to in a way that the others (sans Ogiue) cannot, so she’s going to use it for all that it’s worth. It’s a moment that really says, “Yes, this is what Yajima is about.” What makes this scene really work for showcasing Yajima’s feelings, though, is the artwork itself, where Yajima is trying her best to work through her own awkwardness and continue conversation.
Obviously that scene references the previous chapters where Yajima and Hato have been working on their manga, but there are actually quite a few callbacks to events much further back in Genshiken as well. The first one worth mentioning is Yajima’s mom trying to guess which of the girls is in fact a boy. You might recall that this happened in Chapter 56, the very first chapter of Nidaime, when Madarame predictably couldn’t figure it out and Saki was able to with one look. Looking back, it’s kind of amazing how that was Madarame and Hato’s first meeting, and now it’s gotten to this crazy stage. Also, the logic Yajima’s mom uses to single out Keiko is clear, even if she’s off the mark: all of that effort put into her makeup and appearance has to be for something, right?
Poor Keiko. Poor Yajima. Speaking of Yajima, she really does look like the halfway point between her parents.
Speaking of Yajima’s mom, I do find it interesting that the chapter goes out of its way to point out her similarities to Yoshitake in terms of personality. I think we’re supposed to interpret that comparison in two ways, the first being that she has a kind of subtly aggressive personality as she questions everyone’s gender (including her own daughter’s!), and the second being that she gives off a warm, inviting personality. One could even argue that Yajima, who takes after her father in terms of temperament, would get along with someone who’s just like her mother. That’s probably a stretch, though.
The second callback comes from the bath scenes. Recalling the Karuizawa trip, it’s quite telling that Keiko treated the disparity in chest size between her and Ohno back then not as an attack on her confidence, but in the case of Angela she sees the American character’s body as more of a threat. No doubt this is done to show that Keiko views Angela as the most dangerous rival of all for Madarame, reinforcing also her initial view of Angela upon finding out that Angela has a thing for Madarame. I’ve talked about this before, but the friendly antagonism that exists between Keiko and Angela is something you don’t see in a lot of manga, let alone manga about a group of otaku. Both clearly have a lot of sexual experience, both are aware of this fact, and thus both see each other in a different light compared to the rest.
To a lesser extent, Ogiue and Sue’s bath scene also references Karuizawa, but it’s not as significant. It’s mostly just an opportunity to make a joke at Ogiue’s expense, though in this case it’s her own self-deprecation. Actually, when I think about it, most of the time when the subject of Ogiue’s chest comes up, it’s usually her putting words into another person’s mouth. “Now you’re going to say… I’m a small-chested tsundere!” exclaims Ogiue “Joseph Joestar” Chika, as Sasahara or Sue or whoever denies her accusation.
The last reference to the past is the most obvious, as Kuchiki is told to recount how he became a member of Genshiken in the first place. Between his initial club visit, his running away upon seeing the lovey-dovey interactions between Kousaka and Saki, his re-joining the club and causing trouble from the get-go, the scene for the most part reinforces Kuchiki’s role in the story as that annoying guy in the club you just can’t get rid of. However, Kio takes the time to put a bit of a twist on all of that when he has Kuchiki reminds everyone of Genshiken’s origins as a home for misfit otaku (the rejects of the rejects).
In this regard, I find that his apology to Ogiue actually says a lot. As he’s giving his speech before the toast, Ogiue jokingly reminds him that in their first meeting he laid her hands on him and that she’d never forget that, and Kuchiki gets down on his knees (“dogeza”), and immediately says sorry. Within this one moment, we can see that, as much as Kuchiki is generally a completely tactless and grating individual, that he cherishes Genshiken as more than just a place where he can fantasize about being a harem lead. Rather, it’s his home, a place that accepted him when nowhere else would, and to lose that connection is to lose a sense of belonging.
A few days ago I posted a translation of Japanese blogger Tamagomago’s latest article on Genshiken, where he asserts that the distinction between otaku and non-otaku, at least as it was in the mid-1990s to early-2000s, no longer really matters or indeed exists in the same capacity. Kuchiki clearly comes from before this time (as does Madarame of course), and I think given how Nidaime has gone it’s easy to forget just how awkward the club used to be. Kuchiki is a refreshing reminder of its origins, of a time that has arguably passed ages ago, and how places like Genshiken can be important for the awkward. On a personal level, as I’ve gotten older myself I’m no longer quite the nervous teenager I once was, and though vestiges of it still exist within me (and I’m still an awkward individual to be sure), it can be easy to forget just how intense it can be to worry that you don’t belong.
In a way, I wonder if Genshiken and its titular club at this point embody not simply the idea of a group of otaku, but the idea of a space to grow.
NOTE: This is a translation of a post by noted Japanese blogger Tamagomago, concerning the subject of “otaku” in current society and its portrayal in Genshiken. You can follow him on Twitter @tamagomago and check out his, Tamagomago Gohan.
All of the image links use Tamagomago’s original Amazon referrals.
As a final note, Tamagomago has a particular writing style that involves separating sentences by line, and separating general ideas by larger spaces. In the past I’ve consolidated these things into paragraphs both for readability and because WordPress used to have a hard time with multiple line breaks. This time around, I’ve tried to leave his general style intact.
Genshiken is a manga that I love.
I love it, and that’s precisely why it’s…
The current Madarame Harem arc is really quite interesting.
Personally speaking, I read Volume 17 and I’m on the side that thinks, “It has to be Sasahara’s sister, right?”
That’s the sort of fun I’m having with it.
It isn’t about “otaku” anymore.
It’s interesting as a “romantic story about a pathetic guy.”
This isn’t a problem with the storytelling in Genshiken.
It’s because times have changed.
The existence we call “otaku” has ceased to be.
That’s all there is to it.
Genshiken Volume 1 came out in 2002.
That’s the same year as King Gainer, Ojamajo Doremi Dokkaan!, Sister Princess RePure, Haibane Renmei, She, the Ultimate Weapon, Mahoromatic, Tokyo Mew Mew, Asagiri no Miko, Abenobashi Shopping Arcade, Azumanga Daioh, and RahXephon.
I think that it’s easy to understand the atmosphere at this time.
It was the dawning of a new Internet era. It was a time when 2chan had barely come into prominence.
There was no Nico Nico Douga.
We were just beginning to find freedom from the Eva Shock. We were already free from Miyazaki Tsutomu.
We felt guilty using the word otaku, and it was kind of embarrassing to like anime.
Anime such as Haruhi were yet to debut, and while we could make friends with people who also like anime and manga, we weren’t that open about it.
Those were the times.
Sasahara found in the Society for Modern Visual Culture a place where he could lay bare his otaku self. That was the first step.
Ogiue’s story was about fighting the trauma towards manga she harbored within her heart. That was the second step.
In both cases, the on-looker, the non-otaku, was symbolized by Saki.
Now, things have changed completely.
In fact, Genshiken Nidaime has been different from the very beginning.
In the first part of Nidaime, the series depicts the Society for the Study of Modern Visual Culture as a space for a group of BL-loving girls to work together.
Also, it’s the story of Hato, a crossdressing boy troubled by his worries.
Characters like Ogiue and Hato already have their pasts resolved by this part of the story.
In this first part of Nidaime, the state of “otaku” reaches a turning point just as the first chapter in Madarame’s story concludes.
In this volume, we see the demise of the image of the ’00s “otaku.”
“Otaku” as a status, “otaku” as a community we depend on, the fun of trying to co-exist as both a member of society and as an “otaku.”
This is where it all ends.
When I say it’s over, I don’t mean, “there are no longer any otaku.”
Rather, the very word “otaku” has become hybridized.
That’s why Madarame, as an old-type otaku, has lost his place.
Madarame is actually a ’90s-type otaku.
Sasahara is a ’00s-type.
What’s different, you ask? It’s that the period between ’95 and ’96 is the dividing line before more and more people could be considered anime viewers and not otaku.
Sasahara gives the impression that “Otaku are out there, huh…”
Madarame is among the group of otaku who had to seek out others like themselves.
In an era without online networks, fans used analog means to get together and have fun.
It wasn’t a match over a network, but rather two people getting together to play.
For Madarame, he no longer needs to identify himself as “otaku.”
He certainly doesn’t look quite so sour anymore.
To put it boldly, everyone has become Kousaka.
Kousaka, unlike the other members of Genshiken, does not look like an otaku at first glance.
This is not something to be depressed or troubled over. Quite the opposite, it’s become totally okay to express your otaku hobbies.
I think this is a good thing.
There’s no longer that feeling of suffering and turmoil, like what Ogiue experienced.
There’s no longer that feeling that you can only ever belong to this specific group of people, like Kuga-pii.
Actually, Kugapii is in a nice place, working as a company employee.
There also isn’t anyone in Saki’s position.
In fact, I think that, even if Saki were perhaps in the club now, she wouldn’t have to pull everyone along like she used to.
After all, there’s no one left like Madarame, who would hem and haw. Everyone would just say, “Okay, okay,” in response to Saki and that would be the end of it.
You can think of that final kick Saki-chan gives Madarame as the demise of the “’90s otaku.”
Let’s talk about Sasahara’s little sister, who has dived straight into the thick of things.
The cabaret club story was interesting, wasn’t it?
That’s the feeling I’m talking about.
This book also came out recently. It’s really interesting so you should check it out.
I think the combination of otaku and subculture is easy to understand.
But they’ve also put yankii in there.
These yankii treat being a yankii nonchalantly, and even if they come into contact with otaku or subculture, it doesn’t bother them.
Here, I think you have the basis for the back and forth between the younger Sasahara and Madarame.
At this point, it’s unnecessary to identity oneself as “otaku,” nor is there a need to move and hide in secrecy. The fence between men and women has come loose.
Is it still necessary to depict “otaku?”
Works about otaku have been increasing.
However, everyone essentially looks cheerful, don’t they? They certainly don’t appear to be all that gloomy.
I think that Kirino in Oreimo has times when she looks gloomy, downright sour even (“Erotic games aren’t just popular shlock anymore, they’re deep!!)
Comparing her appearance and actions, however, she possesses the spirit of a retro otaku.
How is the “maid café” genre doing in manga? They don’t really touch Akihabara culture anymore, so there’s no way to tell.
Characters who go to Comic Market have become a part of normal manga.
I totally love this manga.
There’s a lack of refinement in all directions. That said, there’s a cute underclassman (I won’t allow this! Take a good look!!).
There’s a lack of refinement, but take a look at their fashion. They’re plenty cheerful.
This comes across more as fantasy, but Denki-Gai no Honya-san also has pure, proper otaku.
However, rather than being about otaku, I think that this work is actually more a story of “positive self-affirmation.”
It’s okay to read erotic manga! It’s okay to enjoy BL!
Along those lines, it even says, “It’s okay for you to fall in love!”
Genshiken is also similar to these manga. It’s a 2010s otaku… wait, the word otaku no longer exists. It’s changed direction to become a communication manga about a group of people who share a hobby.
The girls who appear in the story are, to put it differently, “reality.”
In terms of their fantastic elements, they would probably be ranked as:
Hato > Sue > Angela > Sasahara’s sister
The more to the right you go, the closer you get to reality.
In a way, Hato is a boy who acts out the role of the “ideal girl” (it’s not a gender identity disorder), so naturally I’m comfortable including him in this.
Angela is a little more likely to exist in Japan, even though she can be described as the girl who wants to date “OTAKU.” [Translator’s note: “OTAKU” here was originally written in English]
This Genshiken is a romance manga that’s cheerful and filled with happiness.
It’s fun, but reading it is painful.
My own sense is that of Madarame’s generation, the ‘90s otaku.
It’s come to the point that I’ve said my farewells to that era, and I’m giving my regards to the younger generations.
I no longer build myself up into a kind of character.
I have more empathy for this work.
It’s because he’s an adult otaku. More than that, I have a lot of friends who are just like this.
I understand this type, someone who’s no longer doing the otaku thing at full force, but still trudges along that path.
Perhaps Genshiken has at least made me into an “old boy,” who goes about saying, “Ah, youth!”
But that’s not quite right, is it?
There’s no gloom. There’s no anguish.
If it had become a completely different, unrelated world, I could say, “Wow! Look how this manga shines! How wonderful!” but that would only be a halfhearted, depressed reaction.
To grow up along with Genshiken wouldn’t in itself make me feel so awful.
“All of you, please move on.”
“You don’t belong here anymore.”
If you look at it that way, it’s painful.
However… it’s interesting so I keep reading.
It doesn’t matter that this is Genshiken. Manga is manga.
Yajima, Sue, Hato, all of them are cute. In particular, Yajima has gotten increasingly cute.
Actually, on a personal level I find this girl to be the most amazing one of all.
“This alone makes Genshiken Volume 17 worth it.”
-Gogo Tamagomago of the Dead
Yoshitake is the character I like best in all of Nidaime.
It’s just, here’s a character that really positive, acting as the axis that influences both the suffering Hato and Yajima, all while Yoshitake herself doesn’t move one bit.
This face is the first time we get to see what’s underneath.
She’s always cheerful, but doesn’t it seem like there’s something underneath the surface?
No matter what, I can’t take my eyes off of Yoshitake.
Speaking of which, someone (a woman) once said, “Yoshitake’s fashion is really female otaku-esque.”
Somehow, I can understand that at least a little.
Though, it’s more like, Yoshitake is the very image of the female otaku during the time when Nidaime first began.
I took a long time to write this.
Right now, I’m not an “otaku” nor am I part of a “subculture.”
I realize I’m now an adult who doesn’t “belong” to anything like that.
I think it’s a joyful thing. I can like what I like and then write about it.
And yet, why is it so painful?
Why do I feel such sadness when I read Genshiken?
It’s probably because the first part of Genshiken is a story of youth coming from the idea of “deviation,” but between Hato’s change of heart and Madarame’s situation being reset, there’s no need to be deviant.
It’s a sentiment I don’t understand, and it’s just not something I have in common with them.
Even re-reading the above articles, I really don’t understand after all.
Even though I understand that I’ve become an adult and moved on.
The depression that comes from Genshiken continues to grow.
It’s simply that I’ve reached a bothersome age.
Is it just that I’m still trying to find myself?
Actually, I feel like this title can give me a hint.
It’s a manga I absolutely cannot ignore.
That’s because, when I read it I feel relieved.
I feel like there’s a hint here.
Ah, could it be? Is it because they don’t really talk about their favorite things in Genshiken Volume 17?
They do for a little bit, but their words feel somehow unnatural.
However, I understand that these are “otaku.” They’re otaku who don’t depend on being anything.
And yet, I love Genshiken.
I had a realization that this is like what happened to rock music.