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The previous chapter of Genshiken ended with most of the characters pairing off in unexpected ways (none of them romantic), setting up the anticipation that there would be some intriguing interactions that go outside of the normal range that Genshiken has been using as of late. In this regard, Chapter 113 is far from being a disappointment.
After Yoshitake finally reins in her history otaku nature and ceases to be a tour guide through the shrines of Nikkou, all of the groups do their own special thing. For this reason, for this month’s review I think it’s worth talking about each notable pair on their own.
Madarame and Yoshitake
In a lot of harem manga, the characters that act as if they’re stringing the main character along through feigned expressions of affection often fall into the category of the harem as well. Because they show the possibility, they’re part of the fantasy too, even if they’re supposed to be tongue in cheek. Not so with Yoshitake. She drags Madarame away not only to spark the fire among the characters who actually are interested in Madarame, but also slyly manipulates Madarame as well by making it seem as if she’s also into him. Perhaps I’m reading too much into it, but the reaction on Madarame’s face seems less like surprise and more like, “Oh no, not again,” which when you think about it is a far cry from where he was originally in Genshiken.
Yajima and Kuchiki
Kuchiki wants what Madarame has but he’ll never get it because it’s hard to imagine too many girls who would like Kuchiki’s personality (then again he did have a girlfriend once upon a time). At the same time, their mildly venomous conversation has a lot of grains of truth being sifted. Kuchiki mentions the appeal of the girl-boy, which is that you have the physical attraction of a female without the seeming mystery of trying to figure out how they think and feel. This actually isn’t far off from what I’ve read about the appeal of certain, shall we say, “alternative” forms of adult entertainment in anime and manga, and it even reflects something I’ve seen before in an old Ann Landers/Dear Abby, which had to do with a wife questioning if her husband was gay. Long story short, that aspect of being able to directly understand the feelings of another, whether that’s more spiritual or more physical, is something that’s understandable when you think about it. As for Kuchiki almost figuring out Yajima’s feelings for Hato, that probably has less to do with Kuchiki being perceptive and more that Yajima is often an open book (see her first meeting with Yoshitake’s “brother”).
Hato and Keiko
It’s been established that the two don’t really get along, and this chapter I think really shows the foundation of why that’s the case. Essentially, both Hato and Keiko believe that the other is somehow manipulating Madarame. Hato believes Keiko is just stringing him along, while Keiko sees Hato’s personality as an ideal construct, pleasing but artificial. Together, they both open up to each other in an antagonistic manner, giving details as to what transpired in each of their respective close encounters with Madarame. Now they both know the approximate truth, and while it can’t be said that Madarame is a two-timer, I do think Hato and Keiko have bonded in a rather bizarre yet understandable manner. That said, I think their lowered opinion of him comes from somewhat different places; with Hato it’s because of how easily Madarame was enticed, and Keiko because it connects to the whole thing about Madarame being happy about Hato’s chocolates.
I think there’s something to be said about the way that the characters of Genshiken try to exert their wills in this chapter. Yoshitake temporarily dons the role of a fawning admirer to mess with Madarame, Keiko intentionally withholds the fact that Kugayama was at her club too to make Hato think that Madarame came of his own accord, and Hato throws the events of the previous night in Keiko’s face. Nowhere is this clearer than with the fact that Angela’s time has arrived, and she’s come prepared for bear, so to speak. As soon as she finds out she’s pairing with Madarame, out come her noble familiars, barely constrained and ready to serve their master.
I’m not sure if it’s clear from my previous posts, but I love the idea of Madarame and Angela, if only because to me it’s the most hilarious. This chapter begins to prove why that’s the case, even if she probably has the slimmest chance out of the four. Will next month be the most fanservicey chapter of Genshiken ever?
Speaking of Angela and Madarame, or rather the renewed kujibiki drawing, I do find it interesting that Yoshitake’s plan to see the temple Youmeimon, the culmination of her trip to Nikkou, is derailed by construction much in the same way that her original plan to mix the group up into new and exciting pairings also backfired in terms of its original intent. It makes me wonder if this second lottery is going to also be reflected in Yoshitake somehow encountering an even more amazing sight.
Last thing of note: as seen in the first image in this post, this chapter clearly used photo references for its color pages that lend a greater amount of realism to the backgrounds, to the extent that it feels like the chapter is actually promoting tourism for Nikkou. I don’t think that’s actually the case, but Genshiken rarely goes for that look.
After the bomb drop that was last month’s Genshiken, Chapter 112 winds things down a bit, only to then create anticipation for next month. In a way, it’s a much needed break, but the fact that it ends by mixing up the formula a bit basically makes me want to read the next chapter already.
As Yoshitake nerds out about the history of Nikkou and its connections to Japan’s past (something I don’t specialize in but would totally make an interesting post by someone other than me), they remember Hato’s return the previous night. While a lot of the girls are suspicious about what happened, especially Keiko, Hato quietly resigns for the evening, and Yoshitake turns out to be the kind of snorer you can’t ignore. Yoshitake then proposes an idea: draw straws (“kujibiki” in this case), and randomly pair off. While the hope to further some romances looms about, the gods of probability crush almost all hope of that happening.
I’ve never been a part of Hetalia fandom, but I’m aware that it’s encouraged a lot of girls (and even a few guys) to study history more extensively. In that respect, I wonder if Hetalia fans feel a significant connection to Yoshitake, even if Hato is the one who’s explicitly stated that he’s into that series. Speaking of Yoshitake, I’m always impressed by the translators who bother to work through all of her text. The way it’s hand-written, and appears as if it’s trying to economize every last bit of word balloon space, and the fact that this chapter even features a map in the middle of one onslaught of verbage makes it seem like you’re not really meant to read what she has to say.
As is often the case with Genshiken, this chapter is primarily about setup, a brief pause after the weightiness of Hato’s heart to heart talk with Madarame. While of course the decision to break these characters off into specific pairs was probably not random (unless Kio actively chose to replicate what Yoshitake does in the manga itself), I think it’s both telling of Yoshitake’s desire to be the grease that moves the wheels forward, and that both the author and the characters haven’t forgotten about good ol’ Kujibiki Unbalance.
While it’s doubtful that anyone who’s still reading Nidaime doesn’t know what that is, it’s kind of fascinating that the series which so dominated the conversations of the old generation have all but vanished with these youngins. I wonder if Kio misses that a bit. Not only is the chapter title, “Kujibiki Unbalance 1″ a reference to it, but at one point Yoshitake says, “Kami-sama no iu toori,” or “Do as God says,” which is a line from the Kujibiki Unbalance anime opening.
When Yoshitake revealed the kujibiki, I was hoping for the wildest and nonsensical pairings to happen, and in the end my wishes were fulfilled where it counts. While it wasn’t 100% off-the-wall (Ogiue + Sue and Angela + Ohno are obvious ones), seeing things like Hato + Keiko and Madarame + Yoshitake has a certain odd thrill, either because there’s so much tension or because there’s none at all. It’s almost like when characters have to change seats after a semester, and it becomes an opportunity to really see sides of them that we the manga readers haven’t before, or when you’re watching a fighting game tournament and two characters who rarely fight each other are in the grand finals. You’re not sure if you like it more, but the novelty alone keeps you glued.
If we’re allowed to speculate (and seeing as this is my blog I’m going to say it’s okay), I think that the main focus of the next chapter will probably be Hato and Keiko, which will involve Hato trying to pussyfoot around the subject of Madarame and Keiko going straight for the proverbial jugular. Keiko, while not the sharpest tool in the shed in certain respects, is still very perceptive, and even if that’s not enough she’s the type to really egg someone on and force them to admit something. From there, I predict Keiko will really try to force Hato to confront why exactly he crossdresses, and might even explain directly what she finds to be so disingenuous about Hato’s personality and behavior.
Also, on the topic of Keiko, is she purposely wearing a coat that’s similar to Madarame’s? It’s not the kind of clothing I typically associate with her, and as stated previously, she’s intentionally toned down her makeup to appeal more to Madarame’s sensibilities.
And if I were more into yuri, I’d probably make a bigger deal out of both Ogiue and Sue pairing off for the trip, and the fact that they slept in the same sheets at Yajima’s home. I’ll leave that to the other intrepid fans.
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Check out the list on the Waku Waku +NYC Blog. And no, the answer isn’t “Ogiue in that Cardcaptor Sakura cosplay that one time.”
Top 10 rankings are surprisingly difficult for me, because I think I dwell on them longer than you’re supposed to. Still, I understand that they’re accessible and easily digestible content and a great way to introduce anime and manga fans to series they may not have heard of, so you’ll see my try them every so often.
Of course, feel free to leave comments, either here or at the link above.
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.
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.
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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.
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.
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?
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.
Chapter 107 of Genshiken II mostly takes place on a train. Unlike Baccano!, there is no trail of dead bodies, thanks mostly to Yoshitake.
The crew is traveling to Nikkou, a popular domestic and foreign tourist destination, which happens to be located near Yajima’s hometown. As Kuchiki feels that his spotlight has been stolen by Madarame and the women who love him, Yoshitake placates his (somewhat justified) anger by playing with him various classic school trip games, like
UNO UMO, at the same time she tries to encourage Madarame towards a romantic conclusion. Before arriving at Yajima’s place, Yoshitake reveals that she deliberately split off Kuchiki and Madarame into their own hotel room to keep boys and girls separate, except also intentionally failing to mention that Hato is considered one of the girls in this instance.
Genshiken can generally be considered something of an ensemble series, with a rough protagonist in each part. First it was Sasahara, next it was Ogiue, now it might be considered Hato. However, if you were to take just this chapter by itself, and define protagonist in the conventional sense as the character whose actions move the narrative forward, then Yoshitake is clearly the hero in this instance, setting the characters on their paths, or at least trying to do so. That, or she’s like Satan, purveyor of half-truths, hiding her ulterior motives by giving reasons that appeal to her targets’ senses. For Madarame, pushing him towards altruism by bringing closure to his harem woes and preventing any potential fractures in the club hide her simple desire to see her friends end up happy.
Not that I dislike Yoshitake, but rather, as Japanese blogger tamagomago once said, Yoshitake is very good at being the glue that holds a group together. Here she demonstrates that ability to full effect using her silver tongue, managing to set up two different groups that take on different dynamics depending on which guy is placed within them. Madarame surrounded by Angela, Keiko, and Sue is pretty self-explanatory, but as soon as he shifts over to Yoshitake, Yajima, and Hato, it becomes an opportunity to see how Hato and Madarame react to each other. At the same time, Kuchiki being with the other girls lets him somewhat fulfill his harem fantasy, if only in the most bare-bones manner.
Of course, the other characters get their own moments too. While Yoshitake is the one moving things about, it’s the others’ lives that are the concern. Angela makes her appearance after a long while, and in a few moments she gets tied directly into the developments of the previous chapters. Specifically, she has a duel of confidence with Keiko, which references the close call that Madarame had with her, and she gets her breasts fondled by Sue, who is still mad about Madarame’s comment about breast size. Despite being so far away, she still perhaps has a “chance.”
Another character makes her return in Mimasaka, Yajima’s old friend, only this time she has tiny hearts literally emanating from her being. Previously I had considered the possibility that her affection for Yajima might merely be platonic (or at least something like what Sue feels towards Ogiue), but this little detail changes things. For one, it makes for a complex chain of romance where a girl likes another girl who likes a boy who dresses like a girl who likes a guy who recently had his heart broken and is currently popular with the ladies. We also get to see Yajima’s mother, who clearly resembles her. The chapter mentions something about genetics in terms of appearance, but I do find it interesting that Yajima’s mom is so much more cheerful than her daughter. Obviously their lives and circumstances are different, but it does make me a bit curious what her home life was like.
Ogiue literally took a backseat this chapter, staying out of the storm while on the train. One notable moment is that you can see her internal speech is still Tohoku-ben (Watashi wa zutto Sue to issho nandabeka…).
As for next chapter, the preview mentions that it’ll be centered around the Yajima household. I for one am curious when that Angela-centric chapter will happen. It’s really on a matter of when.
One last thing to mention: a new volume of Genshiken came out in Japan, and once again it comes with different store exclusives. This time, they’re Christmas-themed, and they feature Sue, Hato, and Angela, as well as a group shot.