Mandle in the Wind: Be a Man!! Samurai School

Last weekend at the New York Asian Film Festival, I got the opportunity to see the live action film adaptation of the 1980s Shounen Jump manga known as Sakigake!! Otokojuku. The title translates into something along the lines of Charge!! Mancademy, but the official English title is Be a Man!! Samurai School, which while not a literal translation gets the point across just fine. The director and star of the movie, Sakaguchi Taku aka Tak Sakaguchi, as well as his head stuntman, was there watching the movie along with us, and would stay around for a Q&A session afterwards.

You see, Otokojuku is a school for MEN in every respect. Led by its principal, Edajima Heihachi, a man who can take out hundreds of opponents just by mentioning his name and his title, Otokojuku is an all-male school, and the only remaining school in all of Japan that trains men to be MANLY MEN. The story begins as Tsurugi Momotarou, an impossibly calm and cool Samurai-esque man who carries a sword with him everywhere and wears a headband that barely misses the ground, is entering Otokojuku as a freshman shortly after beating up a gaggle of thugs using the power of Punching Fast. He makes some friends, endures some hardships, and then has a Shounen Fight Finale. I don’t really think that’s a spoiler because what can you expect from a movie based on an 80s Shounen Jump property?

There are many things you might look for in a movie, such as plot coherence, solid character development, subtle themes and undertones, and a straight and sure path from start to finish. Otokojuku has none of these, and is instead just a bunch of scenes from the manga faithfully adapted and strung together. Now, don’t hold it against the movie that it doesn’t seem to flow too well, as it is literally a faithful adaptation of the manga, a series which tended to flop back and forth between comedy and serious action more than most Shounen Fight Manga. It’s almost treated as isolated vignettes of the various ways in which the primary characters of the movie turn into manlier men than they were previously. The movie is fun and nonsensical, and if you really want to know an equivalent, it feels somewhat similar in pacing to the live action Cromartie High School movie. Basically, it doesn’t really watch like a movie. If this bothers you, then I would not recommend it, and whatever you do don’t be an ass about it.

The highpoint of this movie in my opinion is the narration, done by the masterful Chiba Shigeru, better known as the narrator for the Hokuto no Ken anime and an expert at making anything he says sound serious and dangerous. Any time anything at all needed to be explained or any time there was a special move to announce, sure enough Chiba would be there to tell us with power and fervor about it. It left such an impression on me that during the after-movie Q&A session, I had to ask Sakaguchi about what it took to get Chiba to do the movie. Sakaguchi said that he personally went and asked Chiba to do it, feeling that he was necessary for the movie to succeed and reach its true form.

Sub over at Subatomic Brainfreeze informs me that the entire movie was filmed in only two weeks with a budget of $400,000. Based on what I saw, I believe him. Don’t let that hold you back though, as it is one of the truest adaptations of an anime or manga I’ve ever seen. More than Casshern, more than Devilman, and especially more than Dragonball Evolution, Be a Man!! Samurai School is the movie to watch  if you want to see a manga brought to life.

Response: A Further Look at the Realism of Genshiken

The Reverse Thieves made a post today about perceptions of realism in fiction and how pessimism tends to overwhelm optimism in public opinion of what is “realistic” or not, at the expense of being able to tell more happy and uplifting stories. It’s a really good read and it got me thinking, particularly because of the primary example they use, my beloved Genshiken.

Hisui writes,

There are a standard list of complaints people have with Genshiken. The first being the prevalence of  female characters in the club and those female characters being too attractive to be in such. The second complaint is that too many of the club members wind up in relationships by the end of the series. Tacked on to this is the belief that the characters lives turn out too cheery overall. Too many of them get jobs they like and come to accept who they are through the club. Essentially, Genshiken is not harsh enough. Real otaku are sadder and more pathetic. Real otaku life is darker and drearier. To generalize the complaint, Genshiken white-washes the life of an otaku and makes it seems happier than it is. Genshiken is accused of having just enough realism to get you to ignore the lies and placates with what you want to hear but does not give you the true story.

I’ve talked about Genshiken on this blog numerous times, and it comes as a surprise to no one that I love the series. I’ve heard these complaints too, that Genshiken is too unrealistic in that its members all achieve some degree of happiness and success, whether it be in relationships, careers, or other areas entirely. However, I want to point out that having the majority of the cast descend into a pit of despair and bland mediocrity would be more unrealistic. It is very possible for geeks and introverts to remain immature and unsocial creatures who remain uncomfortably nervous when interacting with others, but it becomes much more difficult when these otaku are faced with the situations that Genshiken finds itself in.

There is one character in particular responsible for bringing the otaku of Genshiken out of their shells, and she arguably has the most influence on the entirety of the manga.

Did you guess Ogiue? You know me well, but this time you’re mistaken. The girl I’m talking about is Kasukabe Saki.

Saki is initially brought into the club by her boyfriend Kohsaka. Saki is not an otaku and has no interest in becoming one nor the subconscious will to do so. As Narutaki points out, and as I’ve seen numerous times, it is not so unusual for an otaku or a geek or a gamer to bring his non-dork girlfriend into his club. And it’s also not so unusual to have at least one otaku who is charismatic or handsome. Saki initially dislikes Genshiken and finds opportunities to insult its members or to devise ways to separate Kohsaka from the club, but what she inadvertently does is expose them to forces outside of Genshiken, outside of their comfort zone. It is their encounter with the “real world,” so to speak, and as anyone who was once debilitatingly shy or awkward will tell you about what was responsible for their change, increased interaction with others is central to that success.

Further still, you would find that having to confront someone with opinions different from your own when you have no way of escaping will affect you and make you grow as a person. This is the case with Genshiken, as the club itself is regarded as inferior to the Manga and Anime Societies of Shiiou University, making it a club dedicated to outcasts among outcasts and thus the end of the line with no points of escape other than to abandon clubs entirely, and to lose that opportunity to be around others. This is clearly something that none of the members want, and the result is growth and change.

As a fellow new member, Sasahara finds himself positioned opposite Saki through his status as a burgeoning otaku. Becoming chairman of Genshiken simply because he seemed the best fit for carrying on the lackadaisical spirit of Genshiken, his assumed role at the top of the chain and the responsibilities given to him result in his confidence and maturity growing accordingly. He is able to win Ogiue over because he represents someone who is comfortable with himself, something he learned from being with Genshiken for so long. Keep in mind that he applies for the position of manga editor out of desperation, but then realizes that it’s a position he’s already had similar experience in, and is able to use his sincere love of manga and status as an otaku to convince the interviewer of his qualifications. And it all came from having to be Genshiken chairman every day for an entire year. Do something every day and love what you’re doing, and it’s almost impossible not to improve. This is reality.

Similarly, Tanaka goes on to a fashion college after graduating. Tanaka was already interested in making costumes, but the arrival of Ohno gives him the opportunity to constantly improve his craft with a willing partner and to devote his personal time and energy to it. We the readers are not entirely sure when Tanaka began to actually have feelings for Ohno beyond simple physical attraction, but we can be certain that they interacted with each other often and became very good friends who were able to share and understand each other’s ideas and feelings. While you might say it’s unrealistic that a hot babe like Ohno would go for a scruffy tubby guy like Tanaka, would you say the same thing if you knew a guy and a girl in real life who hung around each other practically every day and were united by common interests, and the girl was given the opportunity to see that the guy was not only pretty decent but had creativity and ambition, albeit in cosplay form?

Saki herself meanwhile undergoes significant changes too. Just like how the members of Genshiken were forced to confront opinions different from their own, Saki became exposed to the world of otaku and understood that people are defined by more than their hobbies and interests. While success and confidence were hers from the start, they were incomplete, as Saki was initially embarrassed to reveal to others that her boyfriend is an otaku. However, by being with Genshiken she not only accepts the idea of a boyfriend who will never stop being an otaku, but is able to proudly show that it’s not something she simply tolerates but is another aspect of the man she loves.

In the end, the X-Factor of Genshiken is Genshiken itself. Gather a group of people with different personalities and outlooks on life, and have them interact with each other every day for years on end, and people will change. It’s inevitable. Genshiken just happens to be fortunate enough to be comprised primarily of people who, while socially awkward, are interested in friendship and being able to share moments with others. While it’s impossible for me to be a part of Genshiken, I can personally say that my own experiences as a geek and as an otaku do not fall far from this example given in fiction. Even those who find themselves subject to the pit of despair would be hard-pressed to resist personal transformation in such an environment.

“I’m an Anime Scholar! Why Should I Watch Anime?”

I love the idea of applying a scholarly or academic approach to anime and manga. If you’ve been reading Ogiue Maniax, I think that”s obvious. Whether it’s studying the works themselves, tracing parallels between fantasy and reality, observing the effects of fan subculture, or any other number of relevant topics, I welcome such discussion and discourse and I think that it’s beneficial to anime and manga overall. There’s just one problem.

Every so often you’ll see scholars writing about anime without taking the time to actually understand it. These are not stupid people, but their approach to anime can be misguided. I want to explain why.

The first issue relates to a problem I posted about previously, the “false positive.” This is where you believe you’re making insightful comparisons, but your lack of experience with anime and manga (and by extension analyzing anime and manga) results in what amounts to grasping at straws of logic and connection. This in itself is not that bad, but we all know that at least in the English-speaking community scholarly exploration of anime is a relatively recent development. The result is a lack of accountability, as writers, whether intentionally or accidentally, try to cover their topic in broad strokes and there’s no one to call them out for the moments where they reached just a little too far. This needs to stop.

The second issue again has to do with understanding the topic you’re studying. It’s one thing to take a detached approach to studying anime so as to avoid being influenced by bias, but become too detached and your words become baby’s first anime lesson only using a more complicated vocabulary. In other words, you begin to say things that are either obvious to people who actually KNOW anime and manga, or that come across as vagueries resulting from again, not actually looking at your material and investing your time in it.

That brings me to the third and last issue, which relates very much to the first two. One should not presume to speak authoritatively about anime and manga without at least understanding a little about the “language” that accompanies them. I of course am not saying you should literally study Japanese (although it can certainly help) but that you should not pigeonhole anime and manga entirely into the context of your own field, subordinating it to your greater topic while simultaneously denying its own creative and artistic language and structures. Even if you do not develop the “vocabulary” commonly used in anime and manga, what’s important is that you develop the ability to convey and translate those ideas. You do not have to be completely “fluent,” but if you’re only a first-year student of this “language” don’t be surprised when your translation is full of errors, and do not try to deny those errors in the first place.

Here’s my overly simplified solution to alleviating these problems: WATCH ANIME. READ MANGA.

Don’t sit back and watch it from the sidelines, engage every show you watch, and when it’s over, grab another and get to work. Love it, love the thing you’re studying even if you don’t think the actual works you’re looking at are any good. Let it become a part of you so that when you do talk about it the words flow naturally. Instead of sounding stiff and awkward, your words will carry the proper weight because you actually WATCHED it instead of just reading about it.

Oldie but Goodie

And for those of you who’ve already seen it, you should know I was the one who originally posted that screenshot on the internet.

How to Tell If You’re Tiring of Bleach: BANKAI GYAKUTEN

Now there are a lot of fans of the Shounen Jump manga and anime, Bleach. It’s one of the more popular series in the US, and of course does well in Japan too. However, along the way many fans fall off of Bleach or start to feel as if it’s dragging. Something is missing, something that drew you into the series initially and kept you reading for a long time. I believe there to be a simple indicator of whether or not you feel like either dropping Bleach or putting it on hiatus or whatever.

When a character reveals their Bankai for the first time, are you excited?

If you said, “No,” then it’s possible you need a break.

It’s difficult to tell with whom the “fault” lies. Maybe it’s that you the reader have read so much Bleach that it’s starting to become old hat. Maybe you’ve lost a taste for endless Shounen Fighting. Or maybe the author Kubo is losing his touch, or at the very least losing his touch in your eyes. Whatever the reason may be, you have the option of sitting back, avoiding the comic, and who knows? Maybe you’ll come back to it a month later and appreciate it anew. Or you might just never read it again.

But really, it all comes down to the Bankai. The reason why I use this specifically is that because the Bankai Reveal is always supposed to be a Big Deal in Bleach, and if the Big Deal moments aren’t grabbing you, something is up.

Oh, and if you tired of the manga before the first Bankai is ever revealed…well I can’t help you there.

“Be a Man!” Otokojuku Live Action Movie Saturday, June 27th

The New York Asian Film Festival is going on right now, and Saturday they’re going to be showing a movie based on the 80s Shounen Jump property Sakigake!! Otokojuku, about a school full of delinquents and the Samurai-esque main character who unites them with his manliness and his wooden sword. Advertised here as “Be a Man! Samurai School,” the movie will be shown at 8pm at the IFC Theater in Manhattan, on 6th Ave and West 3rd. I will be attending, as well as quite a few other anime bloggers in the New York area, such as the Reverse Thieves, Subatomic Brainfreeze, and Anime Almanac. Good times will be had, and a generation of moviegoers (limited to those who are inside the theater) will have a taste of true manliness.

The original Otokojuku opening:

And a choice scene from the anime:

Fukumotoverse, or “Zawa-rld”

Recently I’ve been wondering, or should I say, hoping that the works of Fukumoto Nobuyuki all take place in the same universe. We already know that Ten and Akagi take place in the same timeline, with the latter being a prequel to the former, but what of everything else?

Can Japan have enough room for the SHADOW PRIME MINISTER OF JAPAN (Washizu from Akagi), the RICHEST MAN IN JAPAN (Zaizen from Zero), and the KING OF JAPAN (Hyoudou from Kaiji)?!

Is there not just one horrible conspiracy controlling Japan, but several, and they all have to be taken down by incredible gambling heroes? Are all of these evil old men actually in competition with one another, vying to see who is truly the ruler of Japan and its seedy gambling underworld? Do they compete to see who is the most ruthless and murderous of them all?

And is there an even stronger hidden ruler above THEM? Could there be a SHADOW DEMON EMPEROR GOD OF JAPAN that would unite the forces of all of our heroes together into 地上最初の賭博軍団, the world’s first Gambling Army?

So basically what I’m saying is, we need to get Imagawa Yasuhiro to make an anime based on Fukumoto’s works.

V! V! V! Vertical Vednesday

Combine, 1 2 3. 4, 5, Shutsu-

Anyway.

Another Vertical Vednesday is taking place tomorrow, June 24th from 6:30pm to 8:00pm. The plan is to meet up at the NYC Kinokuniya on 6th Ave between 41st and 40th in Manhattan, and afterwards depending on the size of the group and availability of seating, we will either stay at Kino or move to another location.

For those of you unfamiliar with the whole deal, Vertical Vednesday is where Ed Chavez, Marketing Director of Vertical Inc. (publishers of Black Jack, Guin Saga, To Terra, among other works) takes out about an hour to discuss with a group a topic related to manga. Ed is possibly the most knowledgeable person I have ever met in regards to manga, and if you want to learn something new then this is an ideal opportunity.

This week’s topic will be Yankii, or a specific type of Japanese delinquent often seen in anime and manga and specifically parodied by Cromartie High School. Sometimes spelled “Yankee” as in the case of “Yankee-kun to Megane-chan,” but it actually has nothing to do with Americans or dressing up like Americans.

Incidentally, did you know that the English name for Yankee-kun to Megane-chan is “Flunk Punk Rumble?” at least according to the Singapore release?

Man that name is weird.

OGIUE’S TRIUMPHANT RETURN TO MANGA (sort of)

I recently purchased Volume 1 of Genshiken: The Society for the Study of Modern Visual Culture creator Kio Shimoku’s newest manga, Jigopuri: The Princess of the Hell, about an 18 year old mom trying to raise her newborn child. A review will be posted in due time, but there is something more important I must address.

Manga published in Japan generally has a dust jacket where the manga’s front cover is printed, as opposed to manga published in the US where the image appears directly on the book. As such, manga often have images underneath the dust jackets. Curious about Jigopuri, I looked underneath only to uncover this on the back cover.

YEEEEEEEESSSSSSS

Ogiue is saying, “Whatever the circumstances may be, there’s no way they could get this big.” (Thanks to prinny for correcting my mistake)

Even when the content isn’t even related to Genshiken, Kio Shimoku still finds a way to fit Ogiue in, and for that I give him eternal respect and devotion.

Incidentally, this is on the front cover.

Madarame: Why did he use these designs?
Sasahara: Who knows?

Studying the Realism in the Fujoshi Character Design

Ever since the mid-2000s the fujoshi character has seen an increase in overall presence in anime and manga, as evidenced by my Fujoshi Files, an ongoing project where I catalogue fujoshi characters. While comparing various fujoshi characters, especially in seinen manga, I began to realize something interesting about their portrayal, and that is the fact that they are often the characters closest to how a Japanese girl would actually look: dark, straight hair, possibly wearing glasses.

There are series such as Genshiken and Zetsubou-sensei where the fujoshi characters having dark hair is not unusual given the rest of the cast also sporting dark hair. My discussion focuses on those shows where characters’ hair styles and colors tend to be the anime rainbow stereotype.

When you look at Lucky Star as a whole, you’ll see that bespectacled fujoshi Hiyori is the only female character to sport straight, dark hair. Contrast this with Konata, who is the biggest otaku in Lucky Star and her unrealistic blue hair. Patty, while a fujoshi, is an “American” character first, so she’s blonde. Again, I want to mention that Hiyori is the only example of a character with a realistic hair color and style mainly because of how much the rest of the cast isn’t. In a world where bright pastels rule hair colors, the fujoshi is the exception.

Similarly in Kannagi, Takako is also a dark-haired glasses-wearing fujoshi, though her hairstyle is arguably more unrealistic than most of the other characters. However, it cannot be argued that most of the rest of the cast, especially female characters, have hair colors that do not occur at all or much less commonly in reality among Japanese girls.

Meanwhile in Mousou Shoujo Otakukei (Fujoshi Rumi), the main character of Rumi also stands out as being much plainer than the other girl characters out there and even a lot of the guy characters. Part of this has to do with the fact that she is the main character and that this visual plainness is a part of the story being told, but it speaks to this desire to make her a more realistically accessible character even if it’s only at a shallow level at first.

“There’s plenty of characters who look like that who aren’t fujoshi!” you might be saying, and you’d be totally right. The dark-haired, straight-haired glasses girl predates the fujoshi character boom, and arguably falls into the same category as the “iinchou” class representative character. Adachi Hana from Yankee-kun to Megane-chan is a character who is actively trying to achieve that iinchou look, even going as far as to wear fake glasses. She also bears some resemblance to Asai Rumi from Mousou Shoujo. So in a sense, the author of Mousou Shoujo, Konjoh Natsumi, and the fictional character, Adachi Hana, are attempting to reach the same goal: design a character with the look of a realistic Japanese girl. The main difference of course is that the iinchou is characterized by an ultra-clean look and  responsibility, while the fujoshi is characterized by being somewhat disheveled and a tad irresponsible.

You might then be saying, “Ah, but that’s really how fujoshi look.” But then I have to ask, why is it that in these shows where all other characters are not beholden to reality that the fujoshi ends up being how fujoshi “actually look?” And why is this occurring in comics targeted towards guys?

Most other character types in moe or moe-ish anime tend to be fantastic versions of possible real-life people: childhood friends, reticent girls (tsundere), little sisters, etc. Everyone knows that little sisters in anime are rarely like actual little sisters, and even if you compared the imouto character in an h-game to an actual incestuous younger sister the two images would not line up. In this sense, a fujoshi character can be as unrealistic as the others but it is often the case that a certain sense of realism is desired in fujoshi characters in a manner different from other character types.

Looking back at tamagomago’s essay for which I provided a translation, one line in particular jumps out at me: “No matter how realistic it gets, it’s still a fantasy,” or in other words, no matter how realistic a female otaku character may be, they are still just a character in fiction. What this sentence implies is that there is to some degree a push to make female otaku characters have a sense of relatable realism, perhaps more than other character types, and fujoshi fall into this category by extension.

Perhaps the answer to the question of “why are there these realistic aspects in the fujoshi design” is that having a member of the opposite sex also be an otaku makes them more accessible, gives the male otaku a glimmer of hope brighter than previous. Also, by making them a fujoshi instead of just an otaku, a useful distinction is created. And of course, if applied to actual reality with real girls, it is not in itself a realistic goal as long as the male otaku does not confuse his image of 2d and 3d girls.