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Before I get into it though, I want to point out an interesting comment I got recently on my previous episode “review” in response to the cut alcohol scenes. Natsuno, a Japanese person, replied that Japanese TV does in fact regulate depictions of alcohol consumption. Interesting thing to find out, I think.
In Episode 3 we’re introduced to the “other” Hato, the imaginary female version of Hato who makes fangirl comments in his head. No matter what you call it, a Stand, an 801-chan (not used in the anime though), or whatever, it’s meant to be an example of how Hato is able to have a distanced fujoshi view while still maintaining his own thoughts.
The anime’s portrayal of the other Hato came across to me as a bit different from the manga version, despite the scenes being pretty much the same. What I realized afterwards was that this has a lot to do with medium, that conversion from paper to television, and the different conceptions of time that come with it.
In the early chapters of Naruto, one of the gimmicks of the character Haruno Sakura is that she often has thoughts she isn’t willing to express openly, and this usually takes the form of an “Inner Sakura,” a more comically angry-looking version of her silently shouting her true feelings. In the manga, I thought this gag was pretty funny, but in the anime it didn’t work for me at all. This is because in the manga the presence of Inner Sakura appears to take place at the same time as the regular Sakura, a simultaneous existence, whereas to emphasize it for the anime they had to first show Sakura talking, and then Inner Sakura’s response, one and then the other. Although to a lesser extent, I find this to be pretty much the difference between the Nidaime manga and anime.
I think what it comes down to is that when you have that inner and outer self interaction as with Sakura or Hato and you depict it on the page, you can concentrate on one piece at a time while still seeing that they’re on the same page, or more specifically in the same panel. That one panel becomes a cohesive piece of information which can be approached and broken down, and doesn’t need to rely on the linear time of an animated sequence, nor the loss of attention that would occur if the anime did actually play both scenes simultaneously.
I might be calling this an episodic review in the tags, but that’s kind of a misnomer. Instead, I’d like to talk about Genshiken Second Season episode 2, or rather, what’s missing from it.
The manga equivalents of this episode would be Chapters 58, 59, and 60, but if you look at Chapter 59 you’ll notice a rather important Madarame story being cut from it. Now, this might be them cutting it out entirely, or it might be a pacing issue or something where they’d prefer to explore the new characters before putting the spotlight on the old guard again. That’s why, for now, we’ll leave it aside and assume it might actually appear in the anime at a later date, and focus on another curious cut. For those who are sticking to the anime, be warned that Chapter 59 is potentially pretty spoilery for you.
In Episode 2, Yajima, Yoshitake, and Hato all go over to Yajima’s place to create their profiles for the club magazine, Mebaetame. Prior to this, they go to buy some drinks, during which Yoshitake talks about her fantastic metabolism. What the anime did not include, however, is the fact that Yoshitake was trying to buy alcohol to liven up the party. The scene was originally a way to show how Yoshitake is as free-spirited as Yajima is straight-laced (her objection is mainly that they’re below drinking age), especially when Yoshitake ends up getting the beers anyway. Curiously, whereas in the manga they pass out due to drunkenness, in the anime, they simply got tired.
Here’s what I’m wondering: Was this cut due to time constraints, or was it cut in order to avoid showing underage drinking?
I don’t know enough about Japanese television censorship or censorship laws to determine if this is the true cause, but I do know I’ve seen plenty of manga to anime adaptations play it safe in roughly similar ways. The Bokurano anime, for example, turned a rape and exploitation storyline from the manga into something much less extreme. Genshiken does not even begin to approach that territory, but maybe for this show it’s still something they’d like to avoid.
Another thing, though not exactly a cut, is a loss of context. The moment when Ogiue slams the door on Ohno is a visual reference to the time Ogiue invited Sasahara over alone. That part of Genshiken isn’t animated, so the connection is lost.
The opening is kind of interesting. It has quite a bit of information about what’s going to happen (including the appearance of a certain saucer-eyed character and her friend), but what I find most interesting about it is that it makes it very clear that Hato is the focus of the new series, something which wasn’t always immediately obvious in the manga. Also, Sue as Koujiro Frau from Robotics;Notes is about as perfect as it gets. That’s something that wasn’t in the manga but fits Sue’s character so amazingly well that I wish it had been. There is precedent for anime stuff to make it into the original manga, though, so hope is not lost.
As Yoshitake pressures Yajima into potentially revealing that she has feelings for Hato, Kuchiki sees a distraught Hato committing the worst crime of ComiFes: not enjoying himself. In a rare moment of clarity and benevolence (albeit still horribly awkward), Kuchiki teaches Hato that worrying what other people think about you goes against the otaku way. Hato, who suspects that his interest in Madarame may be a matter of him being interested in Madarame in particular and not guys in general, suggests that he hook up with Angela (who is of course likely eager to do so).
This month’s Genshiken II, titled “Festival Evol,” is a reference to the anime Aquarion Evol, which is appropriate in a number of ways. First, Aquarion Evol is the next generation of characters after the original Genesis of Aquarion, which is similar to Nidaime. Second, in the final episode of Aquarion Evol (SPOILERS), the titular robot turns into “Aquarion LOVE,” which is of course one of the themes of Chapter 89. You could maybe read something into the separation between boys and girls in that series too, but that might be going too far. The next chapter preview quote is also from another robot anime, Chousoku Henkei Gyrozetter, so it’s a good month for mecha references.
I find this chapter to somehow be incredibly straightforward but also quite complicated in terms of its developments, so I’m not entirely sure how to approach it. I guess the first thing I’ll say is that, I do know from personal experience that sometimes you think you like someone more than you actually do. I’ve had cases where I was interested in girls, and when they got significant others, my feelings were not jealousy or regret or forlorn heartbreak, but simply satisfaction and relief. In those cases, “what could have been” doesn’t really enter the equation, a personal realization that my own feelings weren’t that strong after all. Is this the case with Hato and his feelings towards Madarame? Something tells me “no,” if only because it only seems to be deflecting or delaying the problems surrounding him. I’m not sure if the BL genre’s classic “I don’t like men, I just like you!” line really works in “reality,” nor the reality Genshiken wishes to depict.
More generally, not understanding one’s own feelings is a recurring element of the otaku subculture, especially when it comes to human interaction. Not to fall into the stereotype of otaku and fujoshi having no social skills or sex, but it’s clear from previous chapters that their experiences with romance have been limited or marred with awkwardness. It only makes sense that not only Hato but Yajima seems to be either consciously or unconsciously denying something, even if it doesn’t necessarily go as far as sexual attraction. I find it both interesting and relevant to this chapter that both Hato and Yajima are the types to restrain themselves to a certain degree even when among their comrades.
The highlight of this chapter may be the fact that this is the first time we’ve seen Kuchiki successfully do something admirable. He’s tried in the past before, like when trying to stop the cosplay thief at the club recruitment fair, but that led to such disaster that it’s one of the first things mentioned in Genshiken II. While Kuchiki is obnoxious and doesn’t understand social problems, he does bring up the relevant point that Hato’s interests in and of themselves do not cause trouble for anyone, nor should they. It makes me think about the other classic annoying character of Genshiken who hasn’t appeared in forever, Haraguchi, and how different the two are. Unlike Haraguchi, Kuchiki is selfish and rude but too honest to be manipulative.
As for the possibility of Angela being Madarame’s first time, I actually really want it to happen now. I don’t particularly care if Madarame and Angela become a “thing,” and of course there’s the long-distance component in all that, but there’s something about Angela just getting the job done that I find potentially hilarious. Genshiken has never been big on valuing female virginity, going all the way back to Saki discussing her sex life with the club members, or the fact that Ogiue is at this point very much not one, but somehow Madarame the virgin is the bigger deal. Losing it in a brief fling where both parties are aware of the lack of classic romance as well as the time limitations would be appropriate and a subtle defiance of the “nerd guy gets the hot girl!” trope, without necessarily being sad, even if Madarame is portrayed as somewhat of a romantic at heart.
This month’s Genshiken also came with an extra comic by another artist, about one of the Genshiken Nidaime anime voice dubbing sessions. As previously discussed, the new anime has an entirely new voice cast, and it’s a lot about the director (who has worked on the previous Genshiken anime) instructing them on the nuances of the characters. Naturally, they don’t reference the previous actors, as that would compromise the legitimacy of the current cast. Probably the most interesting tidbit is at the end, when it turns out that a lot of the female voice actors are themselves fans of Genshiken, and were all asking Kio Shimoku for his autograph. Kio is reportedly a very private individual, which actually just makes me think of him as Madarame, secretly attractive.
The new Genshiken has its first trailer, a 30-second clip. It’s just a voiceover with Yoshitake, Yajima, and Hato, as well as a small bit of Ogiue, but there are some things I observed in the trailer.
The main thing I noticed is that the new Ogiue voice, Yamamoto Nozomi, sounds similar to the previous actor Mizuhashi Kaori, though not Mizuhashi’s performance of Ogiue. Mizuhashi is quite varied (Ogiue doesn’t resemble Miyako in Hidamari Sketch), and Yamamoto’s performance sounds a bit closer to some of Mizuhashi’s other roles, such as Rosetta in Kaleidostar or Mami in Madoka Magica. So it’s sort of a match, but sort of not.
The other notable thing, I think, is that they didn’t give Yajima a “fat” voice. A lot of times, heavyset characters in anime have a deeper, rounder voice to emphasize their weight, but Yajima’s voice sounds more normal. It doesn’t quite have the coarseness I was expecting, but it’s still good to see it not fall into that old stereotype.
Genshiken Nidaime starts July 6th. I still haven’t decided if I’ll episode-blog it or not, especially because that eats up a whole bunch of my post slots (even if it would make for easy content). The other issue of course is that I’ve already done chapter reviews of the source material, and I worry that it’d be quite redundant. That said, maybe I can use it as a way to revisit those previous chapters.
What do you think? Are the chapter reviews already more than enough?
The official Genshiken II anime site has updated with a bunch of information, including a full voice actor list, and character lineart images for all of the core Nidaime cast.
At this point it’s no longer a suprise, but the entire cast list has changed from previous versions. My thoughts can be found below the cast list.
Ogiue Chika: Yamamoto Nozomi (Bouhatei Tetora, Joshiraku), formerly Mizuhashi Kaori (Miyako, Hidamari Sketch)
Yoshitake Rika: Uesaka Sumire (Nonna, Girls und Panzer)
Yajima Mirei: Uchiyama Yumi (Sagimori Arata, Saki: Episode of Side A)
Hato Kenjirou: Kakuma Ai (Mariya Hikari, Campione!) and Yamamoto Kazutomi (Kio Asuno, Gundam AGE)
Ohno Kanako: Yukana (Tsukishiro Honoka/Cure White (Futari wa Pretty Cure), formerly Kawasumi Ayako (Saber, Fate/Stay Night)
Kuchiki Manabu: Fukuyama Jun (Lelouch Lamperouge, Code Geass), formerly Ishida Akira (Athrun Zala, Gundam SEED)
Susanna Hopkins: Oozora Naomi, formerly Gotou Yuuko (Asahina Mikuru, Suzumiya Haruhi)
Madarame Harunobu: Okitsu Kazuyuki (Jonathan Joestar, JoJo’s Bizarre Adventure (2o12)), formerly Hiyama Nobuyuki (Guy Shishioh, King of Braves Gaogaigar)
Sasahara Kanji: Kobashi Tatsuya (Jack Roland, Strait Jacket), formerly Ohyama Takanori
Kohsaka Makoto: Oohara Momoko (Young Heiwajima Shizuo, Durarara!!), formerly Saiga Mitsuki (Rossiu, Toppa Gurren Lagann)
Kasukabe Saki: Satou Rina (Misaka “Railgun” Mikoto, A Certain Scientific Railgun), formerly Yukino Satsuki (Chidori Kaname, Full Metal Panic!)
Tanaka Souichirou: Takayuki Kondou (Saruwatari Gou, Godannar), formerly Seki Tomokazu (Domon Kasshu, G Gundam)
Kugayama Mitsunori: Yasumoto Hiroki (Chad, Bleach), formerly Nomura Kenji (Santana, JoJo’s Bizarre Adventure (2o12))
Angela Burton: Kobayashi Misa, formerly Kaida Yuki (Fuji Shuusuke, The Prince of Tennis)
Sasahara Keiko: Hayama Ikumi (Nunotaba Shinobu, A Certain Scientific Railgun S), formerly Shimizu Kaori (Nijou Noriko, Maria-sama ga Miteru!)
Yabusaki Kumiko: Yonezawa Madoka (Hirasawa Ui, K-ON!), Takagi Reiko (Kaolla Su, Love Hina)
Asada Naoko: Tada Konomi (Sakaguchi Karina, Girls und Panzer), formerly Saitou Momoko (Touyoko “Stealth Momo” Momoko, Saki)
Kaminaga: Noto Mamiko (Toudou Shimako, Maria-sama ga Miteru!)
They’ve also update the staff list, but most of the main people working on the show are already Genshiken veterans, such as the director Mizushima Tsutomu, and series composer Yokote Michiko, who even worked on the Drama CDs. The fact that it’s being done by Production I.G. is hopefully a good sign, though I have to wonder why in the world this series is going to have 3DCGI. Maybe for the ComiFes episodes?
As someone else pointed out to me, just by having Kaminaga in the cast you can tell roughly how much of the manga the anime will cover. The fact that it goes that far is pretty exciting (for those who haven’t read the manga, she’s a pretty big deal).
Notably missing from the voice cast though is Yoshitake Rihito. You’d need someone with a pretty masculine voice. Paku Romi perhaps?
What I think is especially interesting about the voice cast is that for a lot of the old characters they seem to have found people who are less experienced but have played somewhat similar roles in the past. For Tanaka and Madarame, you go from two veterans of screaming-and-shouting to two who are still capable. For Kuchiki, you go from one smooth and hammy (in a good way) voice in Athrun Zala to another one in Lelouch. About the strangest one might be Ui from K-ON! as the loud-mouthed Osakan, Yabusaki.
In fact, I think the voice I might miss the most is Kugayama’s, as his favorite actor sounded so much like an awkward overweight dork that it really set the tone for the rest of the anime. Not that he appears much in Nidaime though.
I also found out that Yamamoto Nozomi, the new Ogiue, is from the Tohoku region of Japan, so she should be able to do Ogiue’s inner voice no problem. Ogiue’s new character design is looking quite good. It’s really close to her current design in the manga, and while she doesn’t have that seething anger and frustration she used to have, she still shows all of the passion which has always defined her. I do want to point out that she has the glimmer in her eyes from after she started dating Sasahara. By the way, I hope they at least address that significant piece of character for Ogiue that is the Karuizawa trip somehow.
(No, seriously, it’s such a big part of her character that to skip it would be like to skip Darth Vader betraying Palpatine at the end).
Speaking of the character designs, Yoshitake in particular is fantastic, and I get the feeling that seeing her in motion is going to garner her a lot more fans.
The last thing I want to talk about is Angela Burton, who is an utter challenge for any anime to cast because of the fact that she doesn’t know Japanese and has to be shown using Ohno as an interpreter, i.e. English skills are required. Kaida Yuki (whose performance in the third Drama CD was stronger than in the anime), studied abroad in the U.S. While she hasn’t done much by way of anime, I did find out that Kobayashi Misa lists English conversation as one of her skills on her official profile, You can hear a bit of her English on her profile as well, if you click the last “3” in that small voice sample section, under “その他.” She’s decent. It also turns out she’s also a professional mahjong player, and in fact the only video of her on Youtube I could find is on the channel of a prominent mahjong player, where she’s giving her opinion on a tournament.
So basically what I’m saying is if she came to a convention, I’d probably get her to sign my mahjong set in addition to Genshiken Nidaime DVDs/Blu-Rays.
Genshiken II, Chapter 88 is Winter ComiFes! As always, the Comic Festival chapters are among the best or most interesting in Genshiken.
It’s Day 1 of ComiFes and Angela Burton the Athletic Bostonian has come back to Japan. Though she’s decided to tone it down she still ends up stirring the pot, especially by noticing that something funny’s going on with Madarame and Sue. During the event, as the others move about, Ogiue and Yabusaki sell the doujinshi they’ve been working on. They even manage to completely exhaust their 1000-book supply, which is a first for them. Hato, who is abstaining from BL, tries to act like a normal otaku and even perv out like a normal otaku, but it just doesn’t work for him, and he ends up not enjoying what is normally a highlight of his life. The chapter ends at the start of Day 2. Yajima plans to buy a yaoi doujinshi for Hato, which may be hinting at some more romantic feelings.
This chapter of Genshiken had the same energy as the old ComiFes chapters, and especially compared to the last one doesn’t have quite so much overt drama. Not that it doesn’t have any drama, of course, but it’s a little more low-key, and you can really feel the hustle and bustle of a event as huge and as crazy as not-Comiket (because it’s a fictional world, remember). At least, that’s how it is for Day 1. Who knows what Days 2 and 3 will bring?
I couldn’t recognize either cosplay this time around, but thankfully there’s at least one blogger who knows his stuff: The first cosplay (pictured above) is from a new series called Shuushokunan Zombie Tori Girl (“Employment Scarcity Zombie-Catching Girl”), and the other is from Hi Score Girl, which if I recall, won some kind of award recently? In any case, I want to check out both manga now. The image of a blue collar worker using a combination fishing pole and net is quite striking.
Just in general, I thought the fashion in this chapter was really nice. Clothing-wise, the two characters who stand out to me the most this chapter are Yoshitake and Angela, for different reasons. For Yoshitake, it’s because of the way she’s able to at times look like the coolest girl around and at other times like the biggest dork in history (or “history dork in history”), when probably both are true. For Angela, I feel like Kio expresses her character through her clothing especially well. Even when trying to hold herself back (another “be yourself, or not” moment?), she still exudes a confidence in herself, her body, and her actions that’s hard to find in even someone like Saki. I’d like to point out that she’s wearing shorts in the middle of winter, when Comic Market is known for sometimes for being blisteringly cold.
I actually like Angela more and more every time she shows up, possibly because of the way that she shakes up the current situation of the club no matter what it might be. Her attitude towards just about everything is a far cry from everyone else, best exemplified when she suspects there being a thing between Madarame and Sue. Angela has some romantic and physical interest in Madarame, and to see her react not with jealousy or anger but with the same excitement she displays when talking about her favorite character types really cuts through the more conventional sense of relationships you see elsewhere.
Ogiue gets a good amount of focus this time around because of the fact that she’s selling her collaborative doujinshi with Yabusaki. If you’re not sure why the two of them are freaking out from the get-go, it’s because they’ve been put in a spot that’s usually reserved for the most popular and highest-selling doujinshi circles. Their table is against the wall, and at a doujin event, the groups whose products will create the most traffic are put against the wall in order to reduce traffic congestion. Ogiue says it’s mainly because the title they chose to parody this time is extremely popular, and that it wasn’t all under their own power, but I think selling out of 1000 copies is amazing no matter the circumstances.
While I of coursed loved seeing Ogiue back when she was struggling with herself, it also brings me joy to see Ogiue this happy. Though she’s hardly what you’d call totally uninhibited now, it’s clear how much more relaxed and comfortable she is now, especially when her nervousness this time around has more to do with feeling like a little fish in a big pond, and not anger at herself. The pinnacle of this can be seen in the very last panel of the chapter, where she’s in the classic doujinshi-buying frenzy. The panel even references the line that something is opening up at the top of her head, the thing that happened to Sasahara at his first ComiFes. The last time we saw Ogiue do this, she was disguised and frustrated about having to disguise herself, but now Ogiue isn’t holding herself back, or trying to disguise herself, or anything. It’s Ogiue, who has allowed herself to be herself. I don’t think I’ve ever seen Ogiue with such a look of confidence and authority before.
Even her interactions with Yabusaki show this, and it’s possible to see how far their friendship has come from what was once a decidedly antagonistic relationship. Speaking of Yabusaki, or rather Asada, it’s interesting to see how a once-extremely minor character has been developed to the point that you can really get a sense of her friendship with Yabusaki, and how the two get along with each other. What once appeared to be Yabusaki as boisterous leader and Asada as quiet tag-along is actually more complex.
By the way, I think it’s telling that Nakajima did not show up, despite Ogiue being so much easier to find this time around.
“Being yourself,” as cliche as it sounds, seems to be the theme of this chapter, especially when taking into account Hato’s own situation. On this first day of ComiFes, the day with generally the most female-oriented and yaoi content, Hato decides that he will not buy any BL. The line towards the end of the chapter says it all, though. On Day 2, Hato has a revelation: “Everyone seems to be enjoying ComiFes, but I haven’t been enjoying it at all.”
In forcing himself to do the “right thing,” Hato suffers. ComiFes is supposed to be the space where otaku can let their otakudom loose, but he’s restrainined himself. Hato’s attempt to be a “normal” otaku brings up an important question: if you’re not having fun as an otaku, why are you trying to be one in the first place? Whether we’re using the older definition of otaku as a pathetic person lost in the delusion of his hobbies, or the more charitable one that emerged later on to just refer to someone passionate about his fandom, “otaku” is not something that’s supposed to cause you anguish because you can’t fulfill the proper behavior in being one. If anything, it’s traditionally the opposite such as with Ogiue.
Anyway, with everything happening, I am certainly looking forward to next month. Last time, I asked about the possibility of Sue x Hato. What about Hato x Yajima? I’m not one to pair couples typically, but there’s something about having the guy better looking than the girl which can create interesting stories and dynamics, particularly in terms of the issue of confidence.
UPDATE: Small point made below.
Ever since the announcement of the new Genshiken anime, I’ve speculated about the voice cast. Courtesy of one Anonymous Spore and the official anime website, the new cast for the Genshiken Nidaime (or Genshiken II as I prefer to call it) has been revealed, and the big, big shocker is that Mizuhashi Kaori will no longer be playing Ogiue, that most grand of angry, once-traumatized hair-brushed fujoshi.
My initial reaction has been genuine surprise and confusion, as I thought she fit the role tremendously well, and seemed to be well-established as Ogiue. Her Ogiue felt genuinely conflicted about everything, and it’s my favorite role of hers (biased perhaps). She even participated in the Genchoken radio shows with Madarame’s voice actor Hiyama Nobuyuki, and drew a comic about how she landed the role as Ogiue. Even putting aside my own Ogiue fandom I’ve thought for a long time that Mizuhashi ranks among the best voice actors out there.
That said, I think it would be a bit unfair to judge Yamamoto Nozomi before I even get to hear her voice the part of my favorite character. She’s pretty new, but she’s also already played roles such as Yukimura in Boku wa Tomodachi ga Sukunai, and Tetora in Joshiraku. When I think about Tetora’s voice in particular, it may actually be a bit closer to how I imagined Ogiue’s voice in my mind when I first read the manga. Actually, Gankyou’s voice would have been even closer, but that’s maybe getting too off-topic.
As for the rest of the cast, you have Uesaka Sumire (Dekomori in Chuunibyou demo Koi ga Shitai!) as Yoshitake Rika in addition to performing the opening theme, Uchiyama Yumi as Yajima Mirei (Davi in Dokidoki! Precure, Arata in Saki: Episode of Side A), and a combination of Kakuma Ai and Yamamoto Kazutomi handling the female and male voices of Hato Kenjirou, respectively. If you look at their list of works, all of them are pretty new voice actors, so perhaps there was something on the production side that required the use of newer voices. I read that they may be changing the old characters as well? Or maybe there was just a good old-fashioned scheduling conflict, which even happened with the Genshiken 2 anime and Keiko’s voice actor. In the end, it’s all just speculation, unless someone more familiar with the seiyuu scene could inform me otherwise.
Based on the previous roles of the actors for Yoshitake and Yajima, I can imagine them fitting their roles well, especially if they go for more naturalistic and awkward voices. I think Yajima especially will be a challenge.
In addition, voices aside, the art and character designs look probably the nicest they’ve ever been for Genshiken anime. I guess it all remains to be seen (and heard).
UPDATE: I decided to look at Mizuhashi Kaori’s official site, which isn’t really updated anymore, and what’s really curious is the fact that where once the front page image was of Ogiue in an empty cardboard box, now Ogiue has been replaced by a different character. I’m unsure if it’s meant to be Mizuhashi specifically or if it’s meant to be another one of the characters she played, but just the fact that she used to use an Ogiue image on her front page as early as September 2012 may indicate that she was rather close to the character of Ogiue.
First thing first, Genshiken anime info dump! it’s been confirmed that the Genshiken II (or Nidaime) anime will be starting this summer, with a different studio but with a lot of old staff. I do find it kind of funny that Genshiken can’t seem to get a consistent animation studio or anime character designer, and given the sheer variation of work that the character designer Taniguchi Junichirou has worked on, it’s hard to predict how they’ll look exactly. Also, Uesaka Sumire will be singing the opening. Next month is the voice cast reveal, so let the speculation begin!
In Chapter 87, Hato continues to try to be one of the boys, but the fact that he is unable to draw properly for the sake of Ogiue’s ComiFes doujinshi when not in drag causes him to go back to it, at least in private. At the same time, Ogiue has decided to charge into the 21st century by buying a pen tablet monitor in order to save time and manpower, but the transition isn’t as simple as she hoped for. As ComiFes is drawing near, familiar faces appear as Angela makes her return to Japan and Keiko is looking to take another stab at the event.
I literally laughed out loud when I saw the pen tablet monitor. It was clearly introduced by Kio Shimoku as a metaphor for not only Hato’s current situation, but also the Genshiken club itself and even the manga as a whole. In this regard, I think it does an excellent job of representing the dimensions of a generational divide.
By showing Ogiue struggling with her tablet despite purchasing it to alleviate her work schedule, Genshiken touches upon the idea that transition can be a difficult thing because of how much we must acknowledge and rework our assumptions. The strengths and limitations of the zoom function, referenced during Ogiue’s little rant, is the perfect example. On the one hand, it lets you get up close and put detail into even the smallest part of a drawing, but on the other hand it can be stifling if one is obsessed with detail. Ogiue’s plight somewhat mirrors the difficulty by which the manga itself has transitioned into its new cast and their very different values, not only in terms of the content of the manga, but also for a good portion of the manga’s readerbase which seems to see the new Genshiken as “not Genshiken.”
However, I think it would be a mistake to say that the ideas implied by the tablet transition are narrowly limited to Genshiken as a topic, as I really think it goes beyond this one manga. What really adds to the tablet metaphor is the conversation between Hato, Yajima, and Yoshitake where they mention the simple fact that, for some artists, digital drawing is all they’ve ever known.
Drafting, cleaning, paneling, for them, everything is done on the monitor, and it highlights this idea that, rather than this newer generation of artists being untrained in the old ways, that their “environment” is simply different and they have adapted to it in kind. Instead of the tablet being a facsimile of “real” drawing by mimicking pen on paper, for them the tablet is real drawing. That difference in mindset is so central to the changes between generations, whether it be music and art, dance, technology, or any other topic, and it shows how neither the old or new generation are “bad,” but that people are the product of their experiences.
I get the sense that, as the manga continues, Ogiue will continue to use the tablet, but that it will require her to adjust her current work habits to better fit it, or to make it more of a supplementary tool. In either case, if she does incorporate it, it means that her work may never be the same again. The impossibility of returning to the “old way” is also shown in the beginning of this chapter, when we see Madarame, Hato, and Kuchiki discussing anime much in the same way the club used to, with mentions of sakuga, seasons (cour), and the economic side. While definitely similar to the old Genshiken, something’s not quite right, especially in terms of how Yoshitake and Yajima appear a bit alienated by it because it’s not the atmosphere they’ve participated in and even helped to create. It feels a bit artifical and out of step with time, which also has implications in regards to Hato, who is trying to act like a “proper” male otaku.
If we look at the notion of the “proper” otaku (and perhaps even the whole debate over fake geeks), it’s kind of funny that people prescribe a certain set of behavior as “proper” for a group that has been traditionally stereotyped as behaving improperly by virtue of being otaku. I think Hato’s vain attempt to quit crossdressing and yaoi may be a sign of how ridiculous this can be, as if the manga is saying that it’s not as simple as getting rid of the girly stuff to bring back the “true” Genshiken, and that there has been a change in environment that the manga has been trying to address.
I may have gone a little too crazy with that analysis, but I honestly think that I haven’t completely or properly explained the intricacies of the tablet metaphor, though I’ll leave it as is for now. It’s been a while since we’ve had this much Ogiue in a chapter, so I’m pleased in that regard, and I’d been wondering when Angela would show up again a she’s a significant factor in the whole Madarame-Hato story. The fact that Keiko is planning to go to ComiFes out of her own free will may actually say everything about how much the world in and around Genshiken has changed.
(A bit of Ogiue Tohoku-ben inner dialogue teaching us that Ogiue is still not used to Kanto winters.)
Genshiken II, Chapter 86 looks to possibly be a turning point. We’ve had quite a few of those already though. Also, next month there might be more news about the upcoming anime! It’ll be a long 30 days or so.
Sue visits Hato’s place, using Janglish to ask if he likes Madarame. Hato denies, but is clearly hiding something. After a tussle pitting Hato’s judo training against Sue’s freestyle which ends in a win by submission for the American, Sue discovers Hato’s secret Mada x Hato (in drag) drawings. Hato, who is increasingly confused about his feelings for Madarame (he feels that at this rate he might actually start liking Madarame), decides to just stop crossdressing and go back to being “a normal otaku.” This clearly makes Yajima uncomfortable despite her previous objections to Hato’s crossdressing.
With this chapter, I think I finally understand one of the big overarcing themes of Genshiken II. Yes, there’s the generation gap and the otaku/fujoshi distinction, but even more fundamental to the manga is a concept I’d describe as “the complexities of personal perceptions.”
The foremost example is Hato. He is getting to the point where he likely feels something for Madarame. I want to point out, however, the fact that Hato had no problems showing his “Hato x Mada” art to Sue, declaring that it was just the realm of fiction, but for some reason he also felt it necessary to keep his “Mada x Hato” hidden. I think the distinction between the two pairings is extremely important because it indicates a denial of clear-cut narratives about sexuality in describing otaku.
“What’s fiction is fiction, and what’s real is real” is a clear and concise argument. So is “what you’re attracted to in fiction can influence your real life preferences (and vice versa).” The former argument is used by Hato, while the latter was suggested by Kaminaga. With Hato and his feeling towards Madarame, however, it might actually be the case that his yaoi delusions are separate from his real feelings, but he began developing feelings for Madarame anyway due to their growing friendship, and that this manifests as Hato x Mada vs. Mada x Hato. I wonder if this is the case just because Mada x Hato for some reason apparently has to involve Hato crossdressing, as if to say the idea does not “make sense” to him otherwise.
In anime and manga about (or including) fujoshi, often there is significant time spent explaining how important the orders of pairings are important. “It’s like saying ‘curry on rice.’ No one says ‘rice on curry!’ says a character from the 4-koma series Doroko. This is generally played for laughs while trying to introduce to the reader the “mysterious” mind of the fujoshi, to allow the reader to say, “Oh fujoshi, you’re so lovably wacky.” I think that with Genshiken, Kio is trying to discuss that mindset a little more seriously.
I predict Ogiue is going to start playing a bigger role in this, just because Hato looks like he’s trying to run away from his current situation at all costs. Ogiue is more than familiar with this situation, is aware of how much trying to deny oneself can generate a festering wound of self-loathing, and just how complicated the real/fiction distinction can get. I think, or perhaps I simply hope, that Ogiue will manage to be Hato’s mentor, like how Ohno was there for her. Also, Hato says he’s “going back” to being a normal otaku, but was he ever a normal otaku? He discovered yaoi in junior high, so it’s been with him for a long time, which makes me think that Hato is trying to simply act like how a “normal otaku” is supposed to without truly direct experience, somewhat like how Ogiue sometimes tried to approximate a “non-otaku.”
If the Hato example is a little too crazy, I think Yajima in this chapter also provides an interesting case of personal perception. Clearly the reason why Yajima blushes at the end is because she still associates male Hato with the time she accidentally saw him naked, in addition to just the fact that he’s a guy. She doesn’t react this way so much to Hato in her female guise, which means that the wig and dress is enough to “trick” Yajima psychologically so that the first thing she thinks about is Hato’s clean-shaven personal area. What Yajima thinks of Hato is of course its own puzzle having at its origin her own self-image and her lack of experience interacting with men.
I don’t know if Sue counts towards this as well, but I do find it interesting that Sue’s embarrassment over kissing Madarame has nothing to do with him and everything to do with the fact that Kasukabe saw her doing it. On some level, I feel like I can really understand that distinction. Somewhat like that famous scene in His and Her Circumstances when Miyazawa accidentally runs into Arima while out of her “perfect student” guise,” there are people you feel like you can be a fool around and people you don’t. I also continue to think that it’s kind of brave of Kio to give Sue a larger role, as semi-fluent foreigner is not the easiest thing to pull off without reverting to very basic stereotypes. Sue is many things, but “basic” isn’t one of them.
By the way, there’s something I find really impressive about Sue and Hato’s fight scene, particularly the panel where Hato drags her and sweeps the leg. It captures that one moment so incredibly well, while allowing it to transition into the next set of panels. It actually makes me want to see Kio draw an action series.
To end, I want to ask a simple question: Sue x Hato, what are your thoughts? If this were a more popular series, I’m sure that neck-licking thing would have people talking.
It’s back to basics in Genshiken II, Chapter 85 as Sue, Yoshitake, and Yajima revive the old Genshiken tradition of spying on club members who think they’re alone. When it looks like Hato is getting unusually close to Madarame. Right when things seem to be getting to the point of no return, in comes Keiko, who quickly deduces that Madarame’s decision to quit his job comes from a desire to regress back to his old self now that he’s been rejected by Saki. When Keiko suggests that Madarame come to her Cabaret Club to “get dirty,” Sue interferes and inadvertently makes it known that they were being watched. An embarrassed Hato runs home, only to be met by Sue as the chapter ends.
The more I write these reviews, the more I worry that my constant references to the old chapters may be unfair to the new series. Perhaps if I engage the current Genshiken on its own terms, I’ll be able to do it justice. At the same time, I do actually feel that many of the ideas being explored in Genshiken II have their roots in the original manga, and that the new characters allow for a more complex elaboration.
Back when Ogiue’s own main storyline resolved, the message was one of acceptance. So what if others find your tastes weird? You’re who you are. While such a conclusion fit perfectly for Ogiue’ character, the question of whether the border between fantasy and reality is airtight or porous wasn’t answered to any great length. Not that it needed to be, but if we accept acceptance and remove moral and value judgments from the equation, how complex can that interaction be? This, I believe, is what is happening with Hato and his interactions with Madarame. Hato can go where Ogiue never could.
Hato is clearly emotionally confused in the current story, where everything he thought he knew about himself is being thrown into question. I don’t get a sense of a fear of homophobia from his situation, but that he is having trouble establishing the distinct barrier between his male self and female guise and that it means he doesn’t understand himself anymore. The breakdown hints at the power of imagination, of how we see and define ourselves, and invokes the idea that, while sexuality isn’t a learned behavior, that learning provides additional information for reflection.
Once again, if we go back to Ogiue, she once stated that the Sasahara of her yaoi fantasy is clearly different from his real self, but she also clearly enjoys and is even turned on by Sasahara when he role plays his imaginary “Strong Seme” self. For Hato, who not only includes a form of Madarame in his yaoi fantasies but is also becoming increasingly good friends with him, he almost provides a powerful thought experiment whose solution can’t be as simple as “he’s gay,” even if he turns out to be.
Something I find particularly interesting about Madarame’s portrayal in this chapter is the focus on his neck. The current Madarame looks different from when he was in college, and this is shown most overtly in his change in hairstyle, but when viewed up-close from behind, he still looks the same as he always had. Given that in this chapter he basically admits to wanting to regress, and the fact that Sue, Yoshitake, and Yajima did the old spying trick, I can’t see this callback as unintentional.
Keiko continues her role as a kind of substitute Saki in her own unique way. By that, I mean that where Saki has a natural pragmatism about her that Keiko lacks, Keiko seems to make up for it with sheer (mistake-filled) experience. I almost get the impression that her experience working at a cabaret club is actually increasing her perception skills far beyond what they already were, which even back when she was still attending college were still quite sharp (she’s the one who immediately noticed the sexual tension between Sasahara and Ogiue). I really can’t tell if Keiko is actually into Madarame or not, though the reveal that she’s been purposely mispronouncing his name as “Watanabe” the whole time says something. Even if Keiko is curious about Madarame, though, I can only see her interest being short term, even more than Angela’s.
As for the general idea of the “Madarame harem,” I think that it’s only a name. Take Sue, who both this chapter and last chapter was caught blushing in front of Madarame. The most obvious interpretation is a crush, but why did Sue stand back and watch when it looked like Hato was putting the moves on Madarame, but interfere when it looked like Keiko was about to do the same? For that matter, why did Sue interfere with Angela back when she was trying to get into Madarame’s pants? Given her appearance at Hato’s door at the end of the chapter, we’re probably going to find out more, but wish fulfillment fantasy with Madarame at the head this is not.
I am curious as to where Sue (who was super cute this chapter) is going. Is she going to get some real character development? She did start off as a kind of larger-than-life super fujoshi from another country, and to humanize her may either be an amazing decision or a terrible mistake. I have faith, though.
The last thing I want to point out is the significance of the Children’s Literature Society member we see in this chapter. In the past, that club was clearly on good terms with Genshiken given the whole spying thing, but I got the impression they were not exactly into anime and manga. The fact that this particular fujoshi chose to be part of the Children’s Literature Society in spite of the presence of not only Genshiken but also the Anime Society and the Manga Society (which has a large fujoshi contingent) has a connection with the recurring theme of the generation gap between otaku that primarily manifests in the mainstreaming of the otaku and the rise of the fujoshi. The otaku are not limited to the clubs that are meant for them, which I think says a lot.
As for Ogiue ending the spying thing, it only makes sense given that she was already the victim of it in more ways than one.