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A comedy/adventure anime about a phantom thief named Joker and his bumbling ninja sidekick, Mysterious Joker (also known simply as Joker) is one of many anime derived from the Arsene Lupin-inspired archetype. In fact, this anime began the same season as a similar show, Magic Kaito 1412, and in that respect Mysterious Joker initially seems pretty unremarkable. Having watched the first 4 episodes, however, I noticed a couple of interesting qualities about the series. First, is that the visual designs of its characters are really indicative of a comics lineage that gets somewhat less attention from English-speaking audiences. Second, is that each episode has been better than the last.
In regards to the first point, I’m referring to the fact that Mysterious Joker was originally a children’s manga. However, when people talk about a category like “shounen,” they probably think of series like Dragon Ball or Naruto. Though titles like those are indeed meant for children, what some might be unaware of is that there are also manga magazines dedicated to very young kids, and chief among them is Corocoro Comics. This is where Mysterious Joker (created by Takahashi Hideyasu) comes from, and while the anime cleans up the look of the characters for consistency (generally a must when it comes to commercial animation), their appearances remain colorful and bombastic, with large facial features beyond even what people typically expect out of anime.
The reason why I bring all of this up is that I think it can make Mysterious Joker feel somewhat odd even for those who are accustomed to most other anime that are targeted towards children, as many of them, even if they do not expect an additional older readership, have qualities that almost inherently appeal to a roughly 15-21 demographic. This is not to say that Mysterious Joker is a show that can only be enjoyed by kids, as it can be quite clever in how its mysteries and puzzles play out, and the humor is delightfully crass at times without being crude, but it requires on some level an acknowledgement that it is indeed a kids’ show and that older viewers may not even be taken into consideration. I think this can be a sticking point for a lot of anime fans, particularly teenagers, and so enjoying Mysterious Joker, even on a basic level, requires something of an open mind.
As for the second point, which is about how the show seems to improve with every episode, it’s as if each episode adds a bit more to the story and the world of its characters, and motivates viewers to keep watching. I originally planned on stopping at Episode 3, but then saw the reveal of a female rival phantom thief, which compelled me to see how that turns out. Episode 4 doesn’t feature her in any way, but it explores the friendly rivalry between the main character and another established in the previous episode, and in doing so gives even more reason to keep watching.
I looked up the staff for Mysterious Joker and was surprised to see that Satou Dai of all people is responsible for series composition. While I can’t say how much of the story’s quality comes from the original manga and how much Satou himself is a factor, from my experience with his work I think you get a true sense of what it means to be responsible for series composition. Eureka Seven, another show of his, builds upon itself beautifully. Satou wasn’t around for the sequel, Eureka Seven AO, and it really shows. A more relevant work of his Battle Spirits: Shounen Toppa Bashin, which took the humble card game anime and made it into something more substantial and mature, yet still very attuned to its young audience. While I’ve not seen all of Mysterious Joker, I would not be surprised if it ends up developing in a similar way.
Name: Tohno, Maria (遠野まりあ)
Relationship Status: Single
Origin: Cyber Yaoi Girl
A fellow student at the same school as Tanaka Mitsuki, Maria is also a fan of yaoi and the manga Ai no Doronuma. Unlike Mitsuki who is a closet fujoshi, however, Maria wears her fandom on her sleeve, showing no restraint in expressing her interest in BL and related topics. In addition to being an avid reader of yaoi, Maria also draws doujinshi as part of a circle.
Lacking any sort of inhibition, Maria is even willing to ask her teacher in the middle of class if he’s gay.
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.
I’ve written a blog post on Sailor Moon as my introduction to Japanese food over at the Waku Waku +NYC official blog. If you’re interested in me waxing nostalgic and rambling the way you expect out of Ogiue Maniax, take a look.
I’ll be a regular contributor to the Waku Waku +NYC blog from now on, so look forward to more posts from there in the future. As always, I will continue to devote myself to Ogiue Maniax as well.
If you’re curious, Waku Waku +NYC is an upcoming Japanese popular culture festival from August 29-30 in Brooklyn, NY. Unlike a lot of anime cons and Japanese events, this one looks to more thoroughly integrate food with Japanese anime, games, fashion, etc. If you’re even half as interested in eating and watching anime as I am, it might be worth your while.
Name: Inuzuka, Shino (犬塚志乃)
Alias: Wanko (わんこ)
Relationship Status: Single
Origin: Cyber Yaoi Girl
A hard-working career woman at a pharmaceutical company, Inuzuka Shino is also known online as Wanko, owner of a popular and prominent Ai no Doronuma yaoi fansite. Able to balance her work and home life fairly well, Shino constantly wonders how to improve her site both on a design level as well as the underlying hardware required to run it. She also designs animated gifs.
Inuzuka is good friends with other members of the Ai no Doronuma fan community, including relative novice Tanaka Mitsuki. Shino is often too high-level for Mitsuki, her fujoshi mindset knowing almost no boundaries. Though Inuzuka occasionally gets into relationships, she will sometimes completely forget about the guy’s existence and go hang out with her friends.
Shino is able to view Osama Bin Laden and Omar Sheikh as a yaoi couple, but is unable to do the same with George W. Bush because, according to her, it is impossible to pair uncute idiots.
This month I’m happy to say that the Ogiue Maniax Patreon is currently at almost $100, thanks to my generous patrons both new and old. Even getting close to the three-digit mark is kind of like a dream, and I hope to continue to provide interesting content for my readers.
This past month, I’ve gotten around to making a number of posts I’ve been planning for a while, most notably my review of the fujoshi friendship manga Fujoshissu!, my first look at DLC character Mewtwo in Super Smash Bros. for Nintendo 3DS & Wii U, and my review of the anime about anime, SHIROBAKO. In the case Fujoshissu! I’d been anticipating writing the review of years.
This month’s special Patreon sponsors are:
anonymous (not Capital A “Anonymous”)
One of my contributors wanted to remain anonymous, but because they fulfilled the “Decide My Fate” tier, I wanted to mention them as I am writing a special post this month. As always, if you’d like to request a topic for me to write, you can pledge $30 or more to my Patreon. If you don’t want to or can’t contribute that much every month, you can always change the amount to something lower, or force a maximum limit on how much you give.
For this month, I’d like to ask what people want to see out of my rewards and goals. I understand that my goals and sponsor rewards aren’t exactly world-shattering, and while I’m certainly not willing to sell myself out, I’m curious as to what people would like to see. Perhaps Skype conversations once a week on any topic? Post requests with unique twists? Drawing requests? I’m not sure if I’d be able to do everything, but I’d like to at least offer more.
In terms of milestones, I’m open to suggestions. How would people feel about a tongue-in-cheek negative review of Genshiken and/or the character review of Ogiue?
If you were to ask me about my favorite fujoshi-themed manga, I would predictably answer that it’s Genshiken Nidaime. However, if you were to ask me this question before 2010 (when Genshiken re-started), I would have said Fujoshissu!: Maniac High School Girls Comedy by Okachimachi Hato. I’ve mentioned it a few times over the years on Ogiue Maniax, and have even devoted multiple Fujoshi Files to its characters, but I’ve never really spoken about it to any major extent. Now that the manga has concluded after seven years of publication, I find that it’s all the more important that I share what has been one of my favorite manga in recent memory.
Fujoshissu! (meaning “We’re fujoshi!”) is the story of three fujoshi friends who have to navigate high school while in different stages of their romantic relationships. Satou Megumi is the artist of the group and meets a classmate working at a convenience store and developing a mutual attraction. Aoi Yuki is the resident cosplayed, who begins the series already dating her childhood friend. Yoshizawa Eri is the writer, and who finds herself attracted to her younger brother’s best friend.
Though this seems to follow more or less the formula of so many other manga and especially fujoshi-themed manga, what appealed to me about Fujoshissu! from the very beginning was its approach to portraying its characters, as well as their connections to both each other and their respective boyfriends. In many manga about female otaku, be they fujoshi or otherwise, characters are portrayed as having their fandoms factor extremely heavily into how they find significant others. Boys will fall in love with fujoshi because they love their honest enthusiasm, or girls will work actively to hide their BL fandom. Though generally meaning well, these series often reduce their characters to bare-bones elements, with little characterization beyond the extent of their fandom.
Though this has changed since 2008 when the manga first began, I do think it’s important to note how much Fujoshissu! treats the fact of their fujoshi identities very naturally, especially in the development of their respective romances. Being fujoshi is shown to be very much a part of their identities, yet it is not their sole defining trait or the only impetus for their interactions with others. Their relationships do not hinge on whether or not they can accept their fujoshi selves or whether or not the boys are either attracted to or learn to love their energy, but are more multifaceted concerns having to do with topics such as concern for the future, worrying about personality compatibility, body image, among other things.
In regards to body image in particular, the character Eri is focused on extensively, and her story really explores the idea in ways that are frequently ignored in manga in general. Eri is depicted as short and chubby, and not just “chubby because the manga says she is” as one often finds in series (Yomi in Azumanga Daioh being a notable example). Though not lacking in fashion sense, she reveals over the course of the manga that, due to having internalized a great deal of bullying she experienced when she was younger, she doesn’t believe herself to be beautiful. To Eri, her fashion choices compensate against her own self-perceived ugliness, and she doesn’t even believe her own boyfriend when he says he finds her to be attractive. The combination of not just having this subject talked about but having a character who at first glance reasonably shows through her design why she would come to this conclusion is remarkably poignant, as is the ultimate resolution of this particular narrative.
Even with subjects this emotionally heavy, however, the manga always feels delightfully romantic and fun because of how close and invigorating the friendship between the three main girls is depicted to be. The depths of their personalities come across in times of joy just as much if not more than in times of pain, and their shared hobby of anime, manga, and BL becomes the lens through which we see this deep friendship. It also embraces a manga aesthetic that for the most part can be called shoujo, but the roughness of the artwork is not quite the same as what you’d normally see, more of a BL style that’s been re-translated back into shoujo such that it embraces the expressive qualities of its own lines much more thoroughly.
Interestingly, Fujoshissu! runs in Sylph a magazine largely devoted to BL stories. While the subject matter of fujoshi isn’t that far off, it also shows that a manga title need not be entirely beholden to its own magazine’s themes, and that readers of BL can have just as much interest reading manga about other topics. This isn’t exactly a revelation, especially with magazines such as the recent Comic it, which advertises itself as being manga for female otaku that aren’t so obsessed with love, but the fact that Fujoshissu! successfully ran for seven years shows that this quality is appreciated.
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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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Name: Okamoto, Yuriko (岡本百合子)
Alias: Elizabeth (エリザベス)
Relationship Status: Married
Origin: Cyber Yaoi Girl
Okamoto Yuriko leads two lives. When she is at home, she is a respectable wife and mother from a well-to-do traditional family, clad in a kimono. When among her fellow yaoi fans, however, Yuriko becomes “Elizabeth,” clad in gothic lolita and Harajuku-esque fashions. When asked why she wears such clothing, Yuriko insists that it’s because they look good on her, though those around her tend to disagree.
Yuriko is one of the fans Tanaka Mitsuki befriends as she becomes a part of the online Ai no Doronuma fandom. Yuriko runs her own Aidoro fansite, and also writes yaoi short stories. She also defends her son’s use of the internet despite her mother-in-law’s claims that it hurts his grades.
Yuriko once walked into a situation with her husband and his mistress, and then mentally turned the woman into a guy in order to fuel her next yaoi short story.
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.
It is a somewhat common mistake to assume that Japan as a wholly foreign and alien culture despite events such as the influence of China on its development, the appearance of Commodore Perry, and various interactions with nations such as Portugal and the Netherlands. However, no matter where it comes from, Japan’s own history can be considered unique (and just about any culture or area can say the same), and there are certain implicit and assumed elements that can permeate Japanese culture.
I was asked by Johnny Trovato to address broadly the subject of how theological differences between Japan and countries with more of a Christian history affect how anime and manga are viewed. Truth be told, even though I’ve watched plenty of series which reference religion and spirituality such as Neon Genesis Evangelion, Inari Kon Kon Koi Iroha, and Hermes: Winds of Love (don’t watch that last one), I’m not really an expert on the subject. I originally planned on tackling the subject from a fairly limited perspective, but fortunately I recently discovered a book called Holy Ghosts: The Christian Century in Modern Japanese Fiction by Rebecca Sutter. While it’s not quite on the subject of Japanese religions and beliefs, it did help me to realize an aspect of Japanese culture, media, and literature that I believe sheds a bit of light on how religious beliefs are used in anime and manga.
One of the more major lessons I took away from reading Holy Ghosts is that Japan has historically approached religion in a rather pragmatic way. Shintoist, Buddhist, and Confucian beliefs exist together in Japan, but only as far as they’re convenient. When Portuguese Jesuits arrived in Japan and sought to convert its people, not only did the Japanese sometimes interpret Jesus as a kind of “Buddha” that conformed to their own polytheistic views, but many of the daimyo who converted did so because the Portuguese also sold firearms. Spirituality exists, but it has existed to to serve the people, rather than having people be absolutely beholden to one or more gods. Even the idea of the Emperor as god was a response to the prominence of other religious beliefs being used as tools to control territory.
To take what is probably too big of a leap into the present day, I think we can still see this tendency at work when it comes to the utilization of religious aspects in anime. Evangelion famously features Christian imagery and mythology mainly as a way to provide something fairly exotic to Japanese viewers, while Spirited Away is just as much about encouraging young people to rediscover nature regardless of overt spirituality. This, I believe, is where a good deal of the confusion or dissonance might lie when it comes to how people in the United States and other traditionally Christian cultures interact with anime. Of course, not every person who lives in those countries is necessarily religious, and there has been plenty of media that plays fast and loose with the Bible, from Bruce Almighty to Teen Angel (I still love that show, by the way), but often there’s some kind of counter-play with the assumption that many people know at least the basics of Christianity and that there are plenty who firmly believe in its tenets.
I’m going to use two examples of media, one from the US, and one from Japan. Xena: Warrior Princess was a popular show when it aired. Having begun as a spinoff of Hercules: The Legendary Journey, it at first focused mainly on ancient Greece and the presence of Greek Gods. Eventually though, they decided to branch off and include Christianity in the show. Xena meets both David and Jesus, and any historian would probably tell you that it makes no sense. It didn’t matter in the show itself to a certain degree, but it was directly up against the value of Christianity in the US, and how accurate or (intentionally inaccurate) a work it was factored into how it was perceived.
Now contrast this with Devilman, the story of a teenager who gains the power of a devil so that he can fight other demons. Its creator, Nagai Go, stated that he designed Devilman to resemble a bat, even though that’s not quite the imagery people in countries more familiar with the idea of Satan and Hell would utilize. Eventually Satan himself appears, and he turns out to be a hermaphrodite because Lucifer has been described in some texts as being as such. However, the main value of Lucifer’s dual-gender appearance is visceral shock, and Devilman as a whole didn’t have to take into account how much its readers would be going to church every Sunday. Devilman, if I recall correctly, also mixes in various spiritual beliefs including Japanese ones, and it all effectively works to (on a somewhat pragmatic level) help the story along.
The idea that religion isn’t this overwhelmingly powerful subject in Japanese culture and society isn’t necessarily shared by all who live there, of course, but I think there’s a lot in the old adage that says, in Japan, you have a Shinto birth, a Christian wedding, and a Buddhist funeral. That synthesis of beliefs and the ability to mold them into whatever you want defies the idea of religion as this overwhelming, monolithic thing that cannot ever be altered, and anime and manga are proof of that.