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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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Name: Urashima, Hono (浦島帆乃)
Alias: N/A
Relationship Status: Single
Origin: f ningyo

Information:
A freshman college student at the university where marine biologist Tsubaki Reiji teaches and the BL-loving mermaid Mero resides, Urashima Hono comes to college interested in snagging lots of guys. However, she instead becomes a friend of sorts with Mero, who teaches her the way of the fujoshi.

Fujoshi Level:
Urashima has only just begun to adopt a fujoshi mindset, but is helped along by Mero.

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.

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Name: Mero (メロ)
Alias: N/A
Relationship Status: Single
Origin: f ningyo

Information:
Mero is a mermaid who is discovered by a marine biologist named Tsubaki Reiji. Having spent much of her young life under the water reading BL, her fellow mermaids failed to understand her fascination with the human world. Upon reaching the surface, she finds herself caught up in a series of misunderstandings with Reiji and those close to him, partly because of her own mistaken assumptions about humankind, and partly because everyone else is equally dim in their own rights.

Fujoshi Level:
Mero actually believes that BL is a 100% accurate reflection of human life, and so assumes that all men are in love with each other.

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 sponsor Ogiue Maniax, check out my Patreon.

The 1964 Tokyo Olympics are considered to be one of the most significant moments in Japanese history in terms of symbolism. Having lost World War II a couple of decades prior, and having experienced military occupation by the US as a result, the Olympics were an opportunity to show the world that Japan had gotten back on its feet and climbed out of poverty. One of symbols of this transformation is the famous bullet train, which came into service in time for the Tokyo Olympics.

It’s no surprise then that the 2020 Tokyo Summer Olympics are kind of a big deal. While Japan no longer has issues with proving itself to be a first-world country even in a decades-long economic recession, the government still wants to further its integration in international economy, culture, and politics. The subject of 3.11 will also still be relevant, and if Japan has not “proven” to the world that they have managed to overcome that disaster by 2020, they will certainly assert it by then. However, one particularly large and visible target for cleanup is Japan’s otaku culture, and they’ve already begun their move.

As I’ve learned from a series of public lectures at Temple University’s Japan Campus (thanks to Veef for the link), one of their targets is anime and manga, given their focus on using Japanese pop culture as a form of “soft power” over the past decade. As the Tokyo Olympics get closer, just the fact that the image of Japan as a haven for illegal pornography still persists to some degree means that the Japanese government, or perhaps groups trying to influence the government, will be pushing for lasting change on what can and cannot be depicted in anime and manga. This has a very likely chance of affecting otaku culture in Japan, though the degree to which these changes will last depends on how much creators and supporters of anime and manga can push back.

Any government will naturally want to present itself and what it represents in the best light possible, though keep in mind this does not automatically mean censorship; it is possible for such behavior to only affect media that comes from the government itself. However, because Cool Japan is government-backed, this can create a contradictions. Namely, what has attracted people to anime and manga culture in the first place has been its willingness to be subversive, degenerative, and controversial, both in the context of other cultures and in Japan. Concerns over anime being not just pornography but child pornography in the US and Canada are nothing new at this point, and more recently in Japan has passed the Tokyo Metropolitan Ordinance Regarding the Healthy Development of Youths.

I think one possible scenario is that the worlds of doujinshi and industry works will separate a bit more, maybe regress back to how it was a few decades ago. These days Comic Market is a big deal for both amateurs and professionals, with fan parodies being sold right next to videos displaying promos for the latest upcoming anime. A lot of names working professionally, including Satou Shouji (Highschool of the Dead, Triage X) and Naruco Hanaharu (Gargantia on the Verdurous Planet, Kamichu!) are artists who not only work in the (relatively) mainstream industry but also still produce both professional erotic manga and erotic doujinshi. While I don’t think many creators will go away, they might very well have to pick what side of the die they fall on.

Censorship levels tend to ebb and flow, and are even a bit hard to control even as laws exist in the books. While artist Suwa Yuuji got in serious trouble in the early 2000s for publishing Misshitsu, an erotic manga that was deemed insufficiently censored, Frederik Schodt, in his classic book Manga! Manga! The World of Japanese Comics, explains how Japanese artists in the 1970s and 80s got around the censorship of genitalia through the use of creative visual metaphors through very “trains going through tunnels”-type affairs. Even the use of mosaics in Japanese pornography has changed over the years to be less prominent. Artists find ways. As somewhat of an aside I do think it’s interesting that the series Denkigai no Honya-san features a government censor as a character who is also a fujoshi.

However, although I believe that manga creators are imaginative enough to find loopholes, I think what we’ll see is a serious effort to keep things from reaching this level on the part of the industry itself and otaku as well. In many ways, this situation goes well beyond the subjects of anime, manga, games, and otaku because Japan has a very real history with censorship.

Leading up to and during World War II, dissenters could get arrested or even killed for publishing material that was seen as unfavorable to the Japanese government. This has of course changed, but just as the memory of the war continues to be an influence on the 2020 Olympics due to the connection to the 1964 Olympics and the role it had in showing how Japan had “moved on,” so too does has the danger of censorship remained in the culture of Japan.

While this might seem to contradict the fact that Japanese pornography is indeed censored, that sort of thing is often just lip-service that some take more seriously than others. After all, unlike other countries where pornography is banned, this is an adjustment to the work itself and assumes that making things less visible also draws less attention to them. There’s a strange relationship between forbidding ideas and forbidding images, because at some point one transforms into the other, and with anime and manga we’re seeing one arena in which this ambiguity comes to the forefront. This is why people from manga creators Takemiya Keiko (Toward the Terra) and Akamatsu Ken (UQ Holder) to the maids at the maid cafe Schatzkiste have discussed the subject of censorship and what it can mean.

In the end I can’t predict what will become of otaku culture, but I think that we’ll see that it’s not as passive as is often assumed. People will fight for their right to consume and create the anime and manga that they want, and it will certainly not be a sad joke.

Name: Ebina, Hina (海老名姫菜)
Alias: N/A
Relationship Status: Single
Origin: My Teen Romantic Comedy SNAFU

Information:
Ebina Hina is student at Sobu High School, and is often seen with her classmates, the soccer ace Hayama Hayato and fashionable gal Miura Yumiko. She is extremely open about being a fujoshi, and constantly wonders aloud both what pairings here classmates can be in and what they might do to each other.

Hina also has a creative talent, working as a director and script writer for her class’s play for a school festival, though she unsurprisingly loads it with BL innuendo.

Fujoshi Level:
Though very much a fujoshi, she intentionally uses her image to keep guys from asking her out.

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.

Ko Ransom

Alex

Johnny Trovato

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 Smash Bros. vs Traditional Fighters and What Lies at the Core of Fighting Games, 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.

Name: Wakaba, Chikage (若葉千影)
Alias: N/A
Relationship Status: Single
Origin: Susume! Otome Road

Information:
18 year old Wakaba Chikage is an apprentice manga artist who, unlike her sister Chiharu, is open with her identity as a fujoshi. Chikage is also Chiharu’s opposite in many other ways, rejecting fashion and makeup while favoring yaoi with big burly men. For this reason, she is also fond of Chiharu’s hairy teacher Mr. Kumada.

Fujoshi Level:
Chikage is able to approach being a fujoshi at full force, uninhibited by social pressures.

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.

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.

Name: Wakaba, Chiharu (若葉千晴)
Alias: N/A
Relationship Status: Single
Origin: Susume! Otome Road

Information:
Wakaba Chiharu is a 16 closeted fujoshi. Unbeknownst to her classmates, she enjoys drawing doujinshi of bishounen, and fantasizes over her classmates, Okamoto Kei and Tajima Ryouichi. Her favorite anime is Cat-eared Akira, a series for which she owns a good deal of merchandise, including a life-sized doll of Akira. Her older sister Chikage is also a fujoshi.

Fujoshi Level:
Chiharu is able and willing to indulge in her fantasies to the fullest extent right in the middle class.

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