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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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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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In Chapter 108 of Genshiken II, Yajima’s mom plays “Are you a Man or a Woman,” Yajima tries to get closer to Hato, and the club meets Yajima’s dad. As Kuchiki has a surprisingly heartfelt moment.
I think Genshiken in general has a knack for conversations that feel natural while reflecting the awkwardness of its characters, and nowhere is this more evident than in the scene between Hato and Yajima this chapter. As Hato and Yajima are going to pick up Madarame and Kuchiki from the nearby hotel (motel?), Yajima begins to talk to him about his comic. It’s the one subject where she believes that they’re on roughly even ground and that they can both relate to in a way that the others (sans Ogiue) cannot, so she’s going to use it for all that it’s worth. It’s a moment that really says, “Yes, this is what Yajima is about.” What makes this scene really work for showcasing Yajima’s feelings, though, is the artwork itself, where Yajima is trying her best to work through her own awkwardness and continue conversation.
Obviously that scene references the previous chapters where Yajima and Hato have been working on their manga, but there are actually quite a few callbacks to events much further back in Genshiken as well. The first one worth mentioning is Yajima’s mom trying to guess which of the girls is in fact a boy. You might recall that this happened in Chapter 56, the very first chapter of Nidaime, when Madarame predictably couldn’t figure it out and Saki was able to with one look. Looking back, it’s kind of amazing how that was Madarame and Hato’s first meeting, and now it’s gotten to this crazy stage. Also, the logic Yajima’s mom uses to single out Keiko is clear, even if she’s off the mark: all of that effort put into her makeup and appearance has to be for something, right?
Poor Keiko. Poor Yajima. Speaking of Yajima, she really does look like the halfway point between her parents.
Speaking of Yajima’s mom, I do find it interesting that the chapter goes out of its way to point out her similarities to Yoshitake in terms of personality. I think we’re supposed to interpret that comparison in two ways, the first being that she has a kind of subtly aggressive personality as she questions everyone’s gender (including her own daughter’s!), and the second being that she gives off a warm, inviting personality. One could even argue that Yajima, who takes after her father in terms of temperament, would get along with someone who’s just like her mother. That’s probably a stretch, though.
The second callback comes from the bath scenes. Recalling the Karuizawa trip, it’s quite telling that Keiko treated the disparity in chest size between her and Ohno back then not as an attack on her confidence, but in the case of Angela she sees the American character’s body as more of a threat. No doubt this is done to show that Keiko views Angela as the most dangerous rival of all for Madarame, reinforcing also her initial view of Angela upon finding out that Angela has a thing for Madarame. I’ve talked about this before, but the friendly antagonism that exists between Keiko and Angela is something you don’t see in a lot of manga, let alone manga about a group of otaku. Both clearly have a lot of sexual experience, both are aware of this fact, and thus both see each other in a different light compared to the rest.
To a lesser extent, Ogiue and Sue’s bath scene also references Karuizawa, but it’s not as significant. It’s mostly just an opportunity to make a joke at Ogiue’s expense, though in this case it’s her own self-deprecation. Actually, when I think about it, most of the time when the subject of Ogiue’s chest comes up, it’s usually her putting words into another person’s mouth. “Now you’re going to say… I’m a small-chested tsundere!” exclaims Ogiue “Joseph Joestar” Chika, as Sasahara or Sue or whoever denies her accusation.
The last reference to the past is the most obvious, as Kuchiki is told to recount how he became a member of Genshiken in the first place. Between his initial club visit, his running away upon seeing the lovey-dovey interactions between Kousaka and Saki, his re-joining the club and causing trouble from the get-go, the scene for the most part reinforces Kuchiki’s role in the story as that annoying guy in the club you just can’t get rid of. However, Kio takes the time to put a bit of a twist on all of that when he has Kuchiki reminds everyone of Genshiken’s origins as a home for misfit otaku (the rejects of the rejects).
In this regard, I find that his apology to Ogiue actually says a lot. As he’s giving his speech before the toast, Ogiue jokingly reminds him that in their first meeting he laid her hands on him and that she’d never forget that, and Kuchiki gets down on his knees (“dogeza”), and immediately says sorry. Within this one moment, we can see that, as much as Kuchiki is generally a completely tactless and grating individual, that he cherishes Genshiken as more than just a place where he can fantasize about being a harem lead. Rather, it’s his home, a place that accepted him when nowhere else would, and to lose that connection is to lose a sense of belonging.
A few days ago I posted a translation of Japanese blogger Tamagomago’s latest article on Genshiken, where he asserts that the distinction between otaku and non-otaku, at least as it was in the mid-1990s to early-2000s, no longer really matters or indeed exists in the same capacity. Kuchiki clearly comes from before this time (as does Madarame of course), and I think given how Nidaime has gone it’s easy to forget just how awkward the club used to be. Kuchiki is a refreshing reminder of its origins, of a time that has arguably passed ages ago, and how places like Genshiken can be important for the awkward. On a personal level, as I’ve gotten older myself I’m no longer quite the nervous teenager I once was, and though vestiges of it still exist within me (and I’m still an awkward individual to be sure), it can be easy to forget just how intense it can be to worry that you don’t belong.
In a way, I wonder if Genshiken and its titular club at this point embody not simply the idea of a group of otaku, but the idea of a space to grow.
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.
As Hato and Yajima struggle to make more manga, Kuchiki announces that he’s finally finished his senior thesis and wants to have a club trip in celebration. Though Kuchiki would prefer to travel abroad, the other members can’t afford to do so and they ultimately decide on going to Nikkou, and to stay at Yajima’s parents’ house, which is close to Nikkou. However, the club soon finds out that not only is Madarame coming along but so are some of the girls interested in him—Angela and Keiko. Moreover, Yajima somewhere deep inside sees this as an opportunity to get closer to Hato.
I feel a bit sorry for Kuchiki at this point. Think about it: Genshiken is the closest thing he has to friends, and all of them barely tolerate his existence. They have good reason for treating him that way, of course, but even what’s supposed to be a farewell vacation in celebration of Kuchiki finishing his senior thesis is secretly a “finally Kuchiki will be out of our hairs for good” adventure. On some level, I respect Kio for keeping Kuchiki around all this time, even if he’s rarely present. I feel that with a character this grating, most manga would have jettisoned him for the sake of popularity, but there Kuchiki was, being “that guy” after Haraguchi graduated long ago. It’s as if there’s a need to remind people that being a dork isn’t always endearing, but that the issue comes less from just being socially awkward and more from lacking consideration for others in your words and actions. The only question is, if this manga continues, will someone new and equally irritating eventually take his place?
As for the real meat of the story this month (sorry Kuchiki but you’re a side note even in this chapter), it looks like the feelings of jealousy (?) expressed by Hato towards Yajima and her superior manga-making skills are blossoming into something more. Though, to be accurate, it’s more like Yajima is trying to passively seize this opportunity to get closer to Hato in a way she never could, as an equal (or perhaps even a superior). It wasn’t so long ago that Yoshitake was barely able to get Yajima to admit that she has feelings for Hato, and to see her begin to sort of, kind of make a move is nothing if not impressive. I think the idea being expressed through their interaction is that, for Yajima, being able to see Hato as imperfect boosts her own confidence and thus her ability to see Hato as a “possibility” in her life. This comes across clearly when Yajima gives Hato advice on his manga, saying that it’s only half-done. Yajima has never acted like that around anyone, let alone Hato, the closest being when she acts as the “big sister” (or maybe something more?) to Mimasaka, or when she’s looking to strangle Yoshitake. There’s also something very real about the creator’s blocks that Hato and Yajima are experiencing, as Hato is struggling to get his story out in a cohesive sense while Yajima’s brilliance came from a lot of pent up emotion and a situation that is just difficult to replicate.
One of the main factors in the trip to Nikkou is Madarame and the Girls Who Love Him, which is not only a cruel joke against Kuchiki but also evidence that, despite some traumatic experiences with them, Keiko and Sue’s stories aren’t over yet (Sue isn’t mentioned but I’m sure she’ll be a part of the trip somehow). On top of that, it’s now Angela’s turn to have her chapter, and the fact that the setting is a trendy tourism spot makes me wonder if it’ll be Angela’s flirtation cranked up to 11 (especially if she catches wind of what Keiko attempted), or if she’ll go for a more subdued approach in her (mostly accurate) assessment of how to nab an otaku boyfriend.
As a final, Ogiue-related note, Ohno’s comment on the Karuizawa trip being the start of Sasahara and Ogiue’s romance made me realize that, probably much like Ogiue herself, I had always associated that whole thing with trauma and pain. You can even see Ogiue’s reaction to this when Kuchiki mentions Karuizawa and she’s the only one with a sweatdrop. However, Ohno has a point, and it really is the turning point for Ogiue, her sense of self, and her happiness. Karuizawa is when she managed to finally let it all out, whether in a long and sad drunken rant to the other girls, or to Sasahara as they were walking. It’s kind of amazing that the meaning of such a significant moment in Genshiken, for Ogiue, and by extension for this blog Ogiue Maniax, could still continue to change.
This month, we have our first ever Madarame and Sue-exclusive chapter. Sue tries to jettison her feelings for Madarame as only Sue can, by handcuffing him to a chair and putting funny masks on him until her perception of Madarame changes and encouraging him to date Hato. At the same time, Madarame, still reeling from his nearly physical encounter with Keiko, is trying to comprehend women’s behavior, which might as well be an ancient and inscrutable language to him. In the end, a poor of choice of words on Madarame’s part, a comment on breast size, may have resolved Sue’s problem for her.
Back in 2010, I wrote a small post on how interesting it is that Sasahara and Madarame essentially “traded preferences” when it came to their real-life vs. anime love interests. Namely, despite Madarame being into the character Renko (who is closer in personality and looks to Ogiue), he was head over heels in love with Kasukabe, who was closer to Sasahara’s favorite character Ritsuko. In Chapter 105, Madarame mentions the fact that, in a harem series, Sue’s type, a young-looking westerner with slender limbs and small proportions, is his favorite kind of character, and I think it’s quite notable that Madarame is only now realizing this himself. The explanation Madarame gives in this chapter is that Keiko and her attempted sexual advance on him has messed with his view of the world and how he approaches the subject of women, and it makes total sense, seeing as how the worlds of 2D and 3D have begun to blur in his head.
This is not to say that his confused behavior is Keiko’s “fault,” however, as Madarame himself sees it, but that the younger Sasahara putting the moves on Madarame has forced him out of the warm and comforting shell of his 2D complex. To Madarame, his former distinction between 2D and 3D is that 2D is where he can channel his desires both emotional and sexual, and 3D, the land of the mysterious creatures known as “actual women,” was so inaccessible to him that the best he could do was fawn over Kasukabe from a distance. When Angela was trying to get in his pants, Madarame likely saw that as so far outside reality that it might as well have been a dream within a dream. Keiko’s actions introduced the word “possible” to his real-world (meaning real women) vocabulary, and so in a way his protective layer of ignorance has been shattered in a manner different from Kasukabe rejecting him. Now, Madarame is conscious of the idea that women might be trying to send signals, but he’s basically a man who has been living in a cave all his life seeing sunlight for the first time. It is probably to his benefit that he becomes aware that women who like him can exist, but for now he’s merely blinded and clawing at open air.
Thus, Madarame tries to “read” Sue, given his limited context. “She’s on my bed! We’re by ourselves!” It’s very possible Madarame could have made a big mistake if not for Sue immobilizing him with those handcuffs, but it’s also understandable in that, when it comes to the opposite sex, he’s more or less a baby who has just learned to crawl, let alone walk. His comment to Sue that, well, Hato doesn’t have any breasts, is born from a brief moment of overconfidence (one might say even hubris) and a relative lack of interpersonal communication skills. Earlier in the chapter, Madarame notices that Sue is not completely flat-chested, and so in stating that Hato “doesn’t have any breasts, huh,” he tries to make a distinction between Hato and Sue. However, Sue has been shown to be sensitive to this subject, so it comes across as more of an insult. And even then, this sort of detail which otaku can elaborate upon extensively, the difference between an AA and an AAA cup or whatever, is not exactly going to win any points when talking to an actual girl.
As for Sue, I find that she’s trying to do what Hato himself had attempted before. Sue asks Madarame to date Hato, much in the same way that Hato was pushing Madarame towards being more assertive with his feelings for Kasukabe, and in both cases they were ways to distance themselves from their own feelings. “If he’s in a relationship, I can get over him!” For that matter, Madarame sort of did the same thing to himself with respect to Kasukabe, and even Yajima, who is not in this chapter, has been shown cheering for Hato x Mada as a way to keep her own attraction to Hato bottled up. With Sue specifically, however, it looks like this is her first ever crush, unlike the others who appear to have some unrequited feelings in the past, and so much like Madarame it is also Ms. Hopkins who is learning to crawl. However, Sue is arguably even more of an otaku than Madarame is, and in that way I can really see the perspective of Sue x Mada supporters. They even have that consistent interaction where Sue will pull out a reference and Madarame will instantly recognize it (this chapter it was Saitou Hajime from Rurouni Kenshin). While there are those who believe this swing and a miss on Madarame’s part is the death of this pairing, much like Keiko x Mada I find that it only opens things up more.
I don’t know if this actually a reference or not, but I find Sue’s “funny mask therapy” to be similar to one of the storylines in Space Brothers. At one point, the younger brother Hibito suffers from panic disorder due to a near-death encounter on the moon, which leaves him unable to wear a spacesuit. The treatment recommended to him is to wear various outfits, from football uniforms to animal mascot costumes, in order to gradually lighten the pressure his mind puts on him when in a spacesuit. Obviously, it doesn’t work the same way seeing as Sue is not the one wearing those ridiculous masks, but a similar effect is desired on her part.
The chapter ends with Hato struggling to draw manga. It might be setup for the next chapter, but what I find interesting is that Hato is having difficulty making his manga more interesting, as opposed to being unable to draw BL. Progress!
As Madarame licks his proverbial wounds after his “close encounter” with Keiko, Hato reveals to the Genshiken club members that he’s decided to finally try and draw manga, and non-BL stuff to boot. Frustrated over her own lack of talent compared to Hato, Yajima decides in a moment of frustration to draw her own manga as well. The next day, both of them give their comics over to Yoshitake and Ogiue to read, at which point the unexpected occurs: they love Yajima’s manga much more. While Hato’s artwork is superior as expected, his story is inscrutable. Yajima, on the other hand, although lacking talent in terms of pure draftsmanship, is actually Hato’s better when it comes to the comics format.
For this chapter, I feel that there are two major points of discussion.
The first is that Chapter 104 is all about revealing new facets of characters we should have been more than familiar with at this point, and how this potentially changes their interpersonal dynamics in the process. Yajima up to this point has felt consistently “defeated” by everything around her, from her looks compared to the other members of the current Genshiken, to her poor drawing skills, to even having the little attempts she makes to try and “catch up” backfire. Hato has served to further magnify this inferiority complex, an issue further complicated by her feelings for him. Yajima is a character who survives off of stubbornness and perseverance, but now for the first time, possibly in her entire life, she has “won.” She has displayed a skill that is not easy for most people, outdoing Hato in the process, and perhaps even Ogiue the manga professional. Yajima might finally get the confidence she’s been missing all these years, and it potentially changes her relationship with Hato as well.
There’s also an important lesson for readers in that creating comics is not simply about being able to draw well. As is mentioned in this chapter, having your ideas come across effectively is often considered to be just as if not more important, and there are plenty of manga which succeed not because they look the best, but that their style is conducive to storytelling, or is just plain entertaining even if they might look ugly as sin.
As for Hato, it’s actually quite interesting to see the degree to which Hato is fazed by his lack of success in creating his first manga compared to Yajima. Since the start of the second series, Hato has consistently been shown to be unusually talented in pretty much anything he puts his mind to, be it judo, crossdressing, or even mimicking the drawing style of the girl he looked up to. While he isn’t a perfect being, seeing as Hato has hit obstacles in the past such as his eccentric drawing style when out of girls’ clothing, it’s clear that Hato is in a way unaccustomed to failing when there are no mental blocks in his way. For the first time, he may have to realize his limits, but in the process might become more thankful of the myriad talents he does possess.
There’s a strong likelihood that this new angle leads to collaboration between Hato and Yajima. The last campus festival was all about team efforts to create manga, and seeing as the two potentially complement each other better than the Hato/Ogiue or Yajima/Yoshitake duos, it could lead to great things. Of course, the burning question in all of this is, could this collaboration be the catalyst for something more romantic? Given Madarame and his woes, it’s impossible to predict Genshiken anymore, but there is a precedent of sorts with Sasahara and Ogiue.
Speaking of Ogiue, even she shows another side of herself in this chapter as we get to see her ultimate goal for Genshiken. Having inherited the club from Ohno, she’s been not-so-secretly desiring the end of the club’s reputation as a “Cosplay Research Society,” but only now are the pieces in place to mold Genshiken in her image as a manga-creation club. Though I don’t think Ogiue is any sort of devious mastermind, I do have to wonder if the executive decisions we’ve seen out of her so far—the return of the Genshiken club magazine Mebaetame, encouraging the creation of manga for the campus festival—were all building blocks for this. Overall, I’m honestly surprised at how much this chapter feels like it changes everything, and yet is such a sensible progression of the story as the characters’ emotions are on full display.
That leads me to the second major pojnt of discussion for this chapter: THE FACES.
I’ve talked about the amazing expressions in Genshiken II before, but this chapter blows every previous one out of the water. Just look at these images of Yoshitake with a grin that would make the Joker jealous, and how Hato’s intensity is radiating off the page.
Of course, seeing Yoshitake practically melt into a pile of goo seen above is one thing. After all, Yoshitake has always been a powerful source of hilarious faces. So is seeing Hato’s expression of jealousy over Yajima’s heretofore unknown talent for manga, as it’s not that different from how he usually looks, even if it is kind of unexpected. What’s really remarkable though, at least from my very biased perspective, is the veritable treasure trove of Ogiue faces that this chapter has graced us with. In the past, Ogiue was mainly known for a perpetual expression of deep anger, and even in moments of joy (like the intimate moment she and Sasahara have in the final chapter of the original series) she still tended to stare daggers at people, if unintentionally. One of the big shifts in Nidaime is the fact that her expressions have softened up considerably over time, and in a way it feels as if this chapter is the culmination of that development.
I don’t have any exact statistics on this, but I do trust my memory as an Ogiue fan on the following: do you know when’s the last time we got to see Ogiue literally laugh out loud so hard she couldn’t control herself? The answer is never. I believe it is a first for the character, and it helps to hammer home the point that Yajima’s manga is legitimately funny, and legitimately interesting.
Next chapter looks to be focused on Madarame and Sue. Given the insanity of last month’s chapter I think this “break” from Madarame’s girl troubles is great, but seeing as this chapter was so downright enjoyable, a part of me hopes that it shifts back to the threads that have laid down here as soon as possible, even though I expect great things out of whatever antics Sue has in store.
Genshiken has portrayed elaborate fantasies, some nudity, and implied sex, but Chapter 103 may be the most erotic chapter the manga has ever seen.
At the end of the last chapter, Madarame was headed with Keiko to her apartment. While it was a little unclear (though heavily implied) that Keiko was using this situation to her advantage, all doubts are erased in Chapter 103 as Keiko does everything in her power to seduce Madarame. On the verge of success as she bids Madarame to feel some real skin, they are interrupted by a phone call from Keiko’s boyfriend, who plans to come over. After Keiko casually admits to having affairs pretty regularly, Madarame escapes, though Keiko expects for him to return.
When I say that this month’s chapter is especially erotic, it has a lot to do with the fact that this is the first chapter ever in Genshiken that has been primarily devoted to one person’s efforts to seduce another. Not only that, but this chapter creates an atmosphere of anticipation and sexual excitement through Keiko’s actions and gestures, going one step even further than the last chapter. Everything Keiko does, from her decision to shower to her choice of clothes, from her subtle choice of words that boost Madarame’s confidence to her serious bedroom eyes, implies advancement towards sex… not to mention that they’re in such a confined space. While I’m not typically one to analyze erotic manga (and this doesn’t quite count as eromanga in the typical sense), I would like to discuss the first panel in the image below, where Madarame’s hand is above Keiko’s open sweatshirt after she’s invited him to touch her breasts.
There’s a real sense of tension in the panel, created by its size, the lack of word balloons, and especially Keiko’s expression, which conveys excitement, anticipation, and even arousal. What’s also notable is that this eroticism is different from the fanservice scenes in the anime Genshiken 2 (not to be confused with Genshiken Second Season), which at times were virtually pornographic (the studio that made Genshiken 2 is best known for its work on Ikkitousen and Mezzo Forte, among other things). Instead, in terms of portraying sexual acts, this veers closer to what can typically be found in more adult josei manga in terms of buildup.
When looking at this chapter, I get the strong feeling that Kio Shimoku’s work on Spotted Flower is bleeding into his work on Genshiken. After all, he has a history of sorts with this, as the very first chapter of Genshiken II was made at a time when his latest work was Jigopuri, and characters looked much rounder and more in line with a moe aesthetic. One can think of Spotted Flower as essentially an alternate universe Genshiken where a man very much like Madarame is married to a woman very much like Kasukabe, and it has been an opportunity for Kio to portray adult sexual desire with far more detail than Genshiken is known for. Whether that’s through depictions of nudity, scenes about the wife trying to get the husband erect, or just the general expression of romantic lust, Spotted Flower has distinguished itself from Genshiken by being a more mature and sexually explicit series. Keiko’s interactions with Madarame venture deep into that territory, and I wonder if this will have a long-term effect on Genshiken going forward.
I think it’s useful to compare Keiko to Angela, not only because Angela once attempted to seduce Madarame herself, but that they have much in common when it comes to men. In my review of Chapter 93, I mentioned that Angela and Keiko look like they could be friends, and I think it’s no accident that Kio has portrayed them as both aiming for the boob grab as the lynchpin of their pursuits of Madarame. Both of them are quite experienced with sex, and both are aware that, for guys in general but especially a virgin like Madarame, breasts are placed on this grand pedestal. Keiko is even shown planning to moan erotically as soon as Madarame makes his move as a way to draw him in further, a bit of characterization in a sexually charged scene that indicates Keiko’s understanding of Madarame and further shows that she and Angela are of similar minds.
Now, I think a fair number of people, upon reading my description and analysis of Chapter 103, might feel that Genshiken has hit the point of no return. “Seriously? A scene where Madarame is basically about to have sex with Sasahara’s sister? What is this harem stuff? What happened to this manga?” Interestingly, the chapter features an explanation as to how Madarame finally started being viewed as attractive. At one point, Keiko says that seeing an otaku like Madarame in love with a person like Kasukabe who is (from Keiko’s perspective) completely out of his league actually makes him pretty cute in her eyes. In other words, as Keiko puts it, it’s thanks to Kasukabe that Madarame was able to exude his awkward charms. Not only that, but Keiko is sort of fond of no-good, pathetic types as well.
When thinking about the other characters, Sue, Hato, and Angela, they’ve all been shown to have also come from similar angles, either implicitly or explicitly. Sue’s wild denial that she has feelings for Madarame is the direct result of Saki seeing her kiss him. Angela already had a thing for sou-uke characters in anime and manga, and she began making her move upon learning that Madarame was feeling heart-broken. Hato, why, much of the series at this point is about his growing affections for Madarame’s character flaws, and it was even prompted by him learning about his unrequited love for Kasukabe. Of course, with Keiko it’s not as if she only has eyes for Madarame; he’s but one of many that she wouldn’t mind sleeping with. The fact that not everyone interested in Madarame has the same view of sex and relationships (which is often the case with actual harem anime and manga) is part of what makes this story arc intriguing. I do have to wonder if Keiko’s boyfriend is of a similar personality in spite of his greater financial success (he’s a subordinate of the president of an IT company).
Next chapter will be about Hato, but the question on my mind is, how will Sasahara react when he finds out about this?! I’ve read comments where people think it’s all over for Keiko x Mada, but I get the feeling that she’s not quite yet done.
As suggested in the last chapter, Madarame and Kugayama visit Keiko’s cabaret (i.e. hostess) club. Though Keiko at first turns up the charm typically expected of a hostess, she quickly reverts to her familiar, sharp-tongued self upon finding about Madarame’s recent inner conflict over receiving Valentine’s chocolate from Hato. When it comes time for Keiko to switch out with another girl, however, Madarame asks if Keiko can stay because in spite of being a girl Madarame feels like he can talk comfortably with her. Many hours later, Madarame wakes up from a drunk stupor only to find out that it’s 3am in the morning. Madarame goes to find a 24-hour internet cafe to crash at, but Keiko suggests he come over to her place.
The Almost-Romantic Misadventures of Madarame (If They Ever Begin At All) is such a strange place to be at when you think about how Genshiken began and Madarame’s original role as alpha otaku. Obviously the awkwardness around women was there from the start and has persisted to even this most recent chapter, but now Genshiken is actively presenting Madarame pairings for people to ship and feeding solid arguments for each. In the case of Keiko, we see Madarame able to actively argue and interact with Keiko in a way that looks natural. Not only that, the fact that Keiko herself quickly reverts to her true self instead of continuing her performance as a hostess means that this attitude is reciprocal. Perhaps if this were a different manga, Keiko would say something like, “I can’t help but be myself around you!”
I bring this up not to board the Keiko x Mada train, but in order to preface something I’ve felt about the past two chapters. I find that, perhaps more than ever, the manga gives the impression of a sense of “progress.” In other words, while obviously many characters have changed in major ways throughout the series (Ogiue most of all), the smaller developments in Madarame feel potent because of how relatively small they are. To some extent, this has to do with the fact that these chapters have concerned characters from the older generation like Madarame and Kugayama, but what’s even more significant is that, even though these conversations feel comfortable, there’s a new context around them in the form of Madarame’s girl troubles that also tinges it with just a bit of exciting unfamiliarity.
Having never been to a host or hostess club, anything I know about them comes from media (anime, written articles, etc.), so I was a bit surprised to find out about all of the little things they do to get your money. While I’ve heard that people spend lots of money on their hostesses, what I didn’t know was that they actively switch every 15 minutes or so and that the only way to keep talking to your preferred girl is to spend money on them in the form of drinks. It reminds me a lot of how contemporary free-to-play games work, giving the customer a small taste and using the allure of continued immersive entertainment to lighten their wallets.
In that sense, the cabaret club is not that different from cute girl-oriented games such as Love Live! School Idol Festival or Kantai Collection, especially when it comes to all of the tricks the girls use to keep a guy enticed. School Idol Festival presents little “stories” where the girls talk about their favorite things, and there’s always the implication of an ambiguous romantic attraction to you the player (“Maybe next time, I can wear other outfits for you!”). Similarly, in this chapter, Keiko demonstrates a number of tricks of the trade. Showing a bit of cleavage is an obvious one, as is presenting a cutesy and demure persona through her attitude and posture, but it didn’t even occur to me until she dropped the act and crossed her legs that her original way of sitting with legs pressed together is clearly suggestive. This doesn’t mean that bare, uncrossed legs are always about sending signals, but in the context of a cabaret club and its employee it’s pretty clear what the true motive is.
I believe that Keiko’s familiarity with the use of a persona to attract men, perhaps not only due to her current profession but possibly also due to the circles she’s run with in the past, is what makes her so skeptical of Hato. Seeing Hato act so girly while knowing that he’s really a man (and sees himself as a man), most likely Keiko thinks that Hato must have some kind of ulterior motive or is not presenting his true self. After all, she fakes her personality for work every day, and knows what will get a guy to pay more attention (and money).
Of course, as established previously, Keiko does have some degree of attraction towards Madarame, and so this changes the dynamic of their hostess-customer relationship in this chapter. However, I find that her approach to getting Madarame, while comparable to her hostess strategies, is still significantly different and perhaps even closer to Angela’s approach. When originally trying to get with Madarame, Angela told Ohno (in the between-chapter extras) that she had intentionally emphasized her dynamite body around him so that her image would linger in his mind (Angela specifically says that he wanted Madarame to masturbate to his memory of her). Although Keiko doesn’t utilize the same sledgehammer method as Angela, it’s also clear that Keiko knows exactly what her words imply when she invites Madarame over to her place at 3am in the morning, and that this has instantly planted a seed into Madarame’s imagination. Keiko the hostess nudges and winks, Keiko the person presses the issue.
Even though he doesn’t have much of a presence in this chapter (or well, ever), there are these little things the chapter presents about Kugayama that I find interesting. After Madarame wakes up, Keiko informs him that Kugayama paid for everything, and that it looks like he makes more than a decent wage. While we’ve seen Kugayama employed for a long time now, this gives me the impression that he’s become a true otaku salaryman, in the sense that while he may not have much time anymore he’s able to devote his earnings to continuing his fandom. Additionally, while Kugayama is secretly praying that Madarame won’t buy an expensive drink for Keiko with the expectation that he’ll be treating Madarame to it, Madarame himself doesn’t even consider the notion that he’s doing this on Kugayama’s own dime (or 10-yen coin ha ha ha ha please don’t kill me). There’s just something there that makes me really feel their friendship even though we don’t see it too often anymore.
The last thing I want to mention is that the next chapter preview reference this time is actually from Marvel Disk Wars: The Avengers, the bizarre anime where Captain America and friends are kind of like Pokemon. Kio frequently makes both obscure and recent references, but this one actually caught me by surprise more than any other.
Can you believe it’s finally Chapter 100? Genshiken has come a long way, and you’d expect a manga to make a pretty big deal out of something like this, but this month is actually fairly low-key in spite of it being about Valentine’s Day. Perhaps that casual approach is the most appropriate way to celebrate Genshiken.
I get the feeling most people reading this will be familiar with the distinction between giri (platonic) and honmei (romantic) chocolates in Japanese Valentine’s Day, but I’m pointing out the distinction here just in case.
The women of Genshiken are buying chocolates for Valentine’s Day, though in the spirit of cooperation and camaraderie they’ve decided to buy their chocolates together, and for everyone to buy each other chocolates. Or rather, that is the plan on the surface, as it’s really an opportunity for everyone to buy chocolates for their respective crushes and make it look like an egalitarian affair. Yajima appears to chicken out at the last second and just buys a box of chocolates for everyone to share, but this too is revealed to be a ruse. Kuchiki comes in and is (somewhat justifiably) angry that no one remembered to give him chocolate, and Yajima gives the chocolates meant for Hato to Hato but only so that he can offer them to Kuchiki to quell his nerd rage. In the end, Hato (with Sue) goes over to give him some honmei chocolate, which causes Madarame to blush profusely.
The title of this chapter—”Is it the birthday of the Van Allen Radiation Belt?—is a reference to Kyuukyoku Choujin R. It’s also been the source of a lot of Sue’s quotes, and reminds me of Tamagomago’s post on the difference between Genshiken and R. As mentioned there, Genshiken used to be compared a lot to R, but their approaches to the generation gap between club members is different. I’ve pointed out the contrast between the old and new era of Genshiken, though at 45 chapters into Nidaime it’s at the point where the Ogiue-led Society for the Study of Modern Visual Culture has been its own thing for almost 4 years now. Even though the connections pop up still, I’ve gotten the feeling that the manga has been trying to move away from that disparity between “young” and “old,” and more towards this incarnation of the club having its own rhythm. That sense that the “fujoshi-laden Genshiken” is unique has always been there, but in this chapter it really comes through.
Genshiken has never really done Valentine’s Day, and while at first that seems kind of unusual given how long the manga is, it makes sense that it would happen only after 1) the club went from being mostly guys to mostly girls (Valentine’s Day is a holiday in Japan where girls give chocolates) and 2) after romantic feelings are front and center in the story. The chapter purposely makes note of the fact that the way the Genshiken members go about celebrating Valentine’s Day doesn’t quite match up to the way things go in anime, but at the same time it still kind of falls into the same parameters. All of the twists and turns in the plot summary above are basically attempts by the girls to Trojan Horse honmei chocolates as giri chocolates, making for something as complex as the political machinations of some royal nobility. I do find it funny that Ohno, having spent some time in the US, gives the “I wish it were more like anime!” vibe like you’d expect out of her fellow Americans.
Always lurking in the proverbial background (and let’s face it, also the foreground) is the fact that this collection of fujoshi (+ fudanshi) for the most part have rather limited and awkward experiences with romance. Even a “veteran” such as Ogiue is still relatively new to the whole girlfriend thing; as the title page mentions, this is only her second time ever celebrating Valentine’s Day with Sasahara. Sue still uses the “Ogiue is me wife” defense mechanism and both Yajima and Hato are smack dab in the middle of a love dodecahedron. Even though Yoshitake is not directly involved, I generally get the feeling, based on her willingness to dispense advice on even a subject as unfamiliar to her as love, that she would probably handle romance worse than Yajima. It’d be the perfect culmination of all those times Yoshitake has gotten Yajima to do embarrassing things. Of course, even better than a punchline is Yoshitake and Yajima actually punching each other, in this casebecause of the former’s “schemes” and the latter’s “cowardice.”
A while ago, I read a review on Anime News Network for Genshiken that was mostly positive but criticized the manga for an overwhelming use of word balloons that supposedly detracted from the visuals. I disagree, not because I think there aren’t a lot of word balloons or that I believe them insignificant, but rather because they add to the experience of looking at manga, guiding the eyes from one significant element to the next while also giving the sense that the characters are chitchatting pretty constantly. Genshiken is sort of an atmospheric manga, but that aspect is minimized most of the time only to let the moments of total “silence” have that much more impact.
As for Madarame’s blushing, I’m not going to say that Hato x Mada is impossible (unlikely, yes), but I think it’d be wise not to read too much into Madarame’s reaction. Once again, we’re talking about a character who is the quintessential super otaku. Even if he finds himself surprisingly popular at the moment, and not so long ago was told that maaaaybe he might have had a chance with the girl of his dreams if circumstances had been different, this is the first romantic Valentine’s Day chocolate he’s ever received from anyone, guy or girl. It can be a lot for a guy. Then again, Nidaime relative to Madarame has partly been about how that classic otaku type is not static, but is rather subject to change due to the influences around him.
If there is anything marking this chapter as a milestone, it might be Ogiue’s behavior. Ogiue was originally a very intense and blunt person with a lot of personal emotional pain inside of her. Here in Chapter 100, Ogiue is rather sharp-tongued, but in a way that really contrasts with her old self. Whether it’s telling Ohno that she can’t play the “recently returned to Japan from abroad” card, or pointing out that Ohno took another year to graduate, there’s a strange kind of serenity to Ogiue’s verbal jabs. Ogiue’s always been a character with a lot of interesting and complicated facets, but subtlety in her words was never really one of them. Maybe it comes from becoming a professional manga creator, or maybe it’s just part of her growth in general. The fact that she’s the spotlight for the title page in spite of not being the focus of the chapter shows her overall importance to Genshiken. Though she’s no longer really in the spotlight, Ogiue continues to be the best character.
By the way, Genshiken Volume 16 is on sale June 23rd. I hope they don’t mess with me again and have a special edition and exclusive editions at Japanese stores!