The funny thing about blogging for as long as I have—almost fourteen years, at this point—is that you never know what old entry might somehow get excavated and arrived from the massively convoluted ball of information that is the internet. Or rather, you never know which of your posts managed to have the right accidental SEO to actually survive and be on the front page.
This month, All Elite Wrestling held one of their big pay-per-views, All Out. It was an event with many surprise debuts such as Bryan Danielson (formerly Daniel Bryan) and Adam Cole, and among those appearances was New Japan Pro-Wrestling’s Suzuki Minoru. I myself was watching and yelling at the screen as soon as his music hit, but when I decided to just check my blog stats on a whim, I noticed a huge spike in hits. The reason: Hundreds of people were finding my 2018 blog post about Suzuki’s entrance theme, “Kaze ni Nare.” Somehow, some way, that post is still on the front page when you google the song’s title.
Anyway, I hope the following Patreon sponsors take flight like birds and risk their lives to become the wind:
A serious and personal reflection on a moment that changed many lives, including my own.
Chapter 44 sees the characters unite in full force, and reveals the softer side of Kousei.
Kio Shimoku’s Twitter has been buzzing with preparation for both his collected-volume releases in September. In a rare treat, he’s actually been retweeting fans who are supporting both Spotted Flower and Hashikko Ensemble, which is how I got retweeted by the man himself!
By next month, the fall anime season will be in full swing. All the big sequels and follow-ups like the new Demon Slayer, JoJo’s, and 86 have my attention. However, the fact that Sunrise is trying their hand again at a new mecha series has my attention. Will Kyoukai Senki be any good, or will it land like a wet fart? The fact that it’s impossible to predict given Sunrise’s track record actually has me more excited.
The final Smash Ultimate DLC character is in just a few days! My dreams will always be with NiGHTS (no pun intended), but I’ll be happy with anyone.
Lastly, speaking of October, New York Comic Con 2021 is on. If you’re going, know that NYC requires full vaccinations for entry for those eligible to get vaccinated. Stay safe.
The past month has been quite a ride for me as an anime fan. I attended my first live convention in ages, I watched the finale of one of my favorite franchises ever, and I stumbled into my most popular tweet in a very, very long time.
I’ll definitely be watching the second G-Reco movie next month, so watch out for that review!
Meanwhile, I’d also like to thank the following Patreon sponsors for their continued support:
Sue Hopkins fans:
Hato Kenjirou fans:
Yajima Mirei fans:
Blog highlights from August:
I actually think I posted some of my best work in a while, so I recommend readers check out everything this month, but if you only have a little time, these are probably the best.
In terms of setup and interesting storytelling, I thinkLove Live! Superstar!! might be the best the franchise has to offer.
Over the course of the pandemic, I’ve noticed a funny thing with my blog stats.
Throughout 2020, I received many more hits than I have over recent years. This trend started to subside around spring this year (when the vaccine rollout started getting some steam), but now over the past couple months as the delta variant ravages the US (where most of my visitors come from), I’m seeing an uptick in blog views again. As much as I like having more people read my stuff, I’d rather everyone be alive.
Go get vaccinated and wear a mask in public and when around others. Stay safe, and I wish you all good health.
2021 was the first year where I questioned whether going to Otakon was a good idea. It’s long been my favorite anime convention, but the ongoing threat of the COVID-19 pandemic and the frightening rise of the delta variant in the United States made me anxious about attending an event that regularly brings close to 30,000 people into a single indoor venue. Ultimately, I decided to make the trip to Washington DC—partly because I wanted to support the fan-run con that has provided so many excellent moments. But it was also because I wanted to try to do something “normal” while taking every precaution I possibly could in order to avoid straight-up tempting fate.
Personal COVID-19 Precautions
I traveled to DC fully vaccinated and wearing the best facemasks I could obtain. I decided not to do any interviews with guests this year (though the lack of Japanese industry guests helped that). I largely steered clear of the dealer room and gaming room. And I greatly reduced my normal frantic pace of checking out every panel imaginable to eat and take respite in my hotel room, where everyone else was a familiar face who was fully vaccinated.
Otakon COVID-19 Precautions
Prior to Otakon weekend, attendees would receive emails about the numerous precautions being taken to try to ensure everyone’s safety. Masks would be mandated, the convention center would be well ventilated, and temperature checks would be included. Vaccinations were not required, which I hope can change for next year.
In terms of masks, the vast majority of people I saw wore masks and wore them properly, and even those whose mask etiquette was questionable would at least try to fix it eventually. This was only my limited perspective, so I can’t say if there were pockets of people resistant to doing so, but it gave me at least a bit of faith that most attendees wanted this event to work. However, trying to enforce a mask mandate on 23,000 people is no easy feat, and I’m not sure if a greater amount of staff/security would do the trick.
The Walter E. Washington Convention Center is a very spacious venue with high ceilings, and was even used as a temporary hospital for COVID-19 patients in previous months. In a more cramped space, I would have been much more alarmed, but walking past people on the way to a panel felt no busier than a New York City sidewalk, albeit indoors—at least on Friday and Sunday. Saturday had more attendees (an inevitability for any weekend convention), and that had me feeling more apprehensive. I took particular care not to remove my mask for any reason on Saturday.
The panel rooms themselves could have used better social distancing, as there was no incentive presented to steer clear of others outside of one’s own desire to do so. In some cases, volunteers encouraged us to pack in for the more heavily attended panels, and I found myself (perhaps against better judgment) staying and hoping my mask and vaccinations (as well as the masks of those around me) would be enough. I feel there should have been more done to encourage social distancing in rooms, even though I understand the disappointment it would inevitably cause for those who wouldn’t be able to enter a panel or event they could have in previous years. I myself presented a panel this year with the best attendance I’ve ever seen for one of my presentations, and I feel conflicted about it because of these circumstances.
As for the temperature checks, I did not see any, and I’m not sure how they were supposed to work or if anyone was indeed caught having a fever. If anyone spotted the temperature checks in action or have more information, I would like to know more.
As mentioned in the introduction, there’s a lot I typically look forward to at Otakon—interviews with Japanese guests, especially—that simply didn’t happen this year. The ability to get interesting industry guests who are willing to share greater insight into the world of anime and manga beyond just pitching their latest projects has been one of the most valuable parts of the Otakon experience up to now. In their absence, I had to wonder if the other appealing aspects of the con could carry the event.
While guests are great, I think the real lifeblood of Otakon is the robust fan panel programming, and I was happy to see it out in full force. A combination of veteran presenters and (I assume) new blood kept things entertaining and informative. While not every panel was an absolute winner, the energy that comes from seeing people onstage sharing topics they find fascinating or encouraging others to expand their scopes is always encouraging.
Thirty Years Ago: Anime in 1991
Daryl Surat from Anime World Order is always a solid presenter. He picked a nice and diverse set of works and made good cases for why they’re still memorable today. As I expected, he made reference to Brave of the Sun Fighbird, the super robot anime that gave birth to the “Is this a pigeon?” meme.
The Best Openings for Shows You (Probably) Didn’t See
This had the Anime World Order crew in full force. As advertised, there were some I didn’t see, and I liked that it had a real mix of genres. The fact that it started off with the opening to Goshogun earns it plenty of points.
Japonisme: A History of the First Japanese Culture Craze in the 19th Century
This panel looked at the weebs of the 1800s, particularly in terms of the great artists of the century. The presenter (an art history teacher) did a solid job of showing how names like Cezanne, Van Gogh, Gauguin, and more were influenced by the woodblock prints and other forms of art coming out of Japan—as well as the problematic Orientalism surrounding the whole thing.
Manga Masters: Kentaro Miura
Patrick (The Cockpit) and manga expert Ed Chavez did a retrospective on the life and career of the late, great Miura Kentaro. Some of the big takeaways were that 1) Miura was not just a skilled artist, he was a nurturing and supportive figure to his friends and fellow artists 2) he single handedly put seinen on the map for the predominantly shoujo-oriented publisher Hakusensha 3) he changed the landscape when it came to manga and fantasy titles. Overall, it was an informative and insightful panel.
Samus vs. Ridley: A Metroid Historia
Not just a video game history panel, this one looked at how the disparate scraps of lore and storytelling gradually came together to form the Metroid we know today. It was fascinating how seemingly everything, even the Nintendo Power comic from the 1990s, somehow has found its way into the mythos in part or in whole.
Bad Anime, Bad…The 20th Anniversary!!
One of the enduring highlights of Otakon is back to celebrate twenty years of awful animation, and I think it’s important to note how much this panel acts as a predecessor of sorts for the current Youtube anime review scene. Not just limited to Japanese animation, it was good to see this still going strong—and Dracula: Sovereign of the Damned is evergreen terrible.
The Wonderful World of Yas
Another creator retrospective, this time it was for Yoshikazu Yasuhiko, the character designer of Gundam and one of the finest artists to ever grace the industry. Finding out that he was dissatisfied with his work in the 1980s makes a lot of things click together in terms of my understanding of him. I wish this panel was better attended, as I think plenty of fans would love seeing not just Yaz’s mecha stuff but also his love of history. However, it was literally up against a different Gundam-related panel.
When Anime Companies Knew Nothing About ANIME FAN WANTS
Run by George Horvath, this panel was a series of painful lessons in industry hubris. However, perhaps it had the opposite effect on me, and I kind of want to start my own anime company…
Ogiue Maniax Presents: Saturday Morning MILFs
A few years ago, I decided to turn an idle observation about anime into a panel where I introduce fans to the surprisingly wide variety of interesting and attractive mom characters cropping up in works for kids. Amid the perennial love of high school characters in anime, I thought MILFs was a worthwhile subject. Unfortunately, my initial attempts to present it were met with rejections and waitlists.
But this year, I decided to swing for the fences and apply for it as my sole panel submission…and actually got the okay! While I was out of practice when it came to public speaking, I actually had most of the panel prepared from previous years’ attempts, and felt comfortable that I could deliver something at least decent.
What I didn’t expect was to be in Panel 1 (one of the two biggest panel rooms at Otakon), and for my silly little project to have the largest convention audience I’ve ever dealt with on a personal basis. It was packed (though that was perhaps not a good thing, given COVID and all).
The funny thing about me is that I often feel a lot more pressure presenting in a vacuum than I do to an actual audience. In front of a gathering of otaku eager to see some MILFs, I worked to educate and inform, while also throwing some red meat out there (because at the end of the day, it was an 18+ panel). Afterwards, a few longtime friends complimented me on the panel, saying I successfully threaded the needle and balanced learning with pleasing the horny audience.
Industry Panels and Screenings
Despite a lack of Japanese guests, the industry panels I did attend were all worthwhile in their own way. The DENPA panel was run by Ed Chavez, and he’s always your best bet for getting an inside look at the manga industry. AnimEigo has the benefit of CEO Robert Woodhead’s many decades in the industry, and I was impressed by his company’s dedication to preserving art and design material for anime projects. Discotek panels are always a blast, but the announcement of blu-ray releases for both Aim for the Top! Gunbusterand Machine Robo: Revenge of Chronos practically stole the whole show at Otakon. I’d been waiting years for the former, and the latter never got a full release—it was actually licensed by accident!
I also decided to check one off the bucket list and finally watched Project A-ko, or rather, Discotek’s remastered blu-ray edition.
In addition, there was a screening for a 3DCG short called HOME! by the animation studio Orange. It was a brief but sweet story about an astronaut and a ghost inhabiting a space colony, and it showed why Orange’s CG work is a cut above its competitors in Japan. A short panel afterwards elaborated on Orange’s approach to 3D work, and it’s easy to see the care that goes into shows like Beastars and Land of the Lustrous.
Artist Alley is usually not one of my priorities, but it sort of took the place of the Dealers Room for me this year. Below are all my purchases at Otakon. It’s not much, but I think it all looks great.
The places I went to this year for finer eating were Farmers & Distillers, SUNdeVICH, and Bantam King. There was also a newly opened Ben’s ChilI Bowl in the convention center (and the old dining area near the underground entrance to the Marriott was closed for renovations).
Farmers & Distillers’ claim to fame is that they get everything directly from local farms. It’s more expensive than your standard restaurants and requires a reservation, but the food is amazing. I got the Yankee pot roast and the vanilla bean cheesecake with strawberries and cream—a combination that was as delicious as I’d hoped but left me regretting the heaviness of the overall dinnerl. the next day. Take a lesson from me and try to balance your meal out better.
SUNdeVICH is a sandwich shop with a variety of solid choices with an international flair. I tried the Shiraz (Persian beef tongue) over salad and the Rome (Italian cold-cut combo) on a sandwich, and both were top notch.
Bantam King I’d been to on my first trip to DC for Otakon, but this time I went for the curry snow fried chicken plate instead of the chilled ramen. The onions and white sauce on top reminded me a lot of coleslaw and fried chicken, and the flavor profile worked well. However, the simplicity and sheer deliciousness of the chicken drippings over white rice was the real winner.
Ben’s Chili Bowl at the convention center suffered from being short staffed (a common problem caused by the pandemic), but once I got my chili half-smoke (chili over a beef-and-pork sausage on a bun), it was amazingly solid.
This year’s cosplay had the inevitable addition of masks. Some of the cosplayers would temporarily remove their masks for photos but kept them on otherwise.
The overall Otakon 2021 experience, for better or worse, was surprisingly normal. In any other year, it would’ve felt par for the course, but the surrounding circumstances at times made things awkward. There were moments where it was easy to almost lose myself in the moment, but had to get snapped back to the reality of an escalating pandemic. I’m still not sure if going was the right idea, and as the delta variant escalates, I worry about 2022. In the meantime, though, I made it back with plenty of good memories. I hope everyone else can say the same thing.
Project A-ko is an indelible part of my anime fandom. As a young nerd in the 1990s eager for more information about this newfangled “Japanese animation,” I ran into it everywhere. The super strong A-ko, the technologically savvy B-ko, and the crybaby C-ko defined anime itself, and their antics were the stuff of legends. What fan didn’t recognize them?
But while I “knew” Project A-ko, I never actually watched it. Less a secret shame and more an ongoing omission, this representative gateway anime of those early days just never crossed my path–that is, until Otakon 2021.
A Brief History of Restoration
In 2019, Discotek Media announced that they were releasing a blu ray edition of Project A–ko, and what began as a state-of-the-art transfer from laser disc eventually gave way to the discovery of an original 35mm film master long thought most to the aether. Fast forward a couple years and a pandemic, and Discotek brought the first showing of the remastered Project A-ko to Otakon attendees. What better way to experience this missing piece of my history?
And so I sat in among a crowded audience, a near-even split of longtime ProjectA-ko fans and newcomers. Because of my exposure and cultural osmosis, I knew too much to pretend like I was viewing it in a vacuum or with a blank slate. I had read the fanfics, I had seen the websites on Anime Web Turnpike. Now, it was my time to bridge that gap between hearing everyone else’s opinions on Project A-ko and establishing my own.
Transfer students A-ko and C-ko are best of friends (or something more). Graviton High’s queen, B-ko, wants C-ko for herself, and she’ll do anything to tear the two friends apart. However, A-ko is superhumanly strong, and neither deception nor giant robots can stop her. Though not immediately obvious, the film was originally meant to be part of the Cream Lemon erotic OVA series before spinning off into its own thing.
The premise of Project A-ko is less a central driving narrative and more of an excuse. It’s a canvas upon which the creators display all manner of gorgeous and lovingly rendered animation ranging from slapstick to tense hand-to-hand combat to fanservice nudity to science fiction set pieces that could impress Moebius. In terms of technical and artistic perspectives, Project A-ko stands the test of time. In terms of artistic indulgence, it stands near the top.
I think how much you like Project A-ko truly boils down to how much you love animation for animation’s sake, how much the excitement and titillation of its myriad spectacles draws you in, and how much you can tolerate a paper-thin plot. I found myself somewhere in the middle, blown away by the sheer beauty of it all, but feeling the drag of nothing to truly anchor it, my attention started to drift halfway through. Yet, now knowing what Project A-ko is like now, it shines a whole new light on the fandom I remember from over 20 years ago.
Hindsight Is Hilarious
Project A-ko is comedy and satire, and I think that much is obvious if you’ve been exposed to plenty of anime. But while watching the interactions between the three core characters, I couldn’t help but recall the kinds of series-related discussions I would see as a young anime fan. Chief among them was the recurring hate lobbed at C-ko, with viewers frustrated that both the cute and feisty A-ko and the beautiful and elegant B-ko would devote so much attention to a loud, whiny, blond gremlin who seems like the worst kind of shoujo heroine. But in the wise words of McBain doing stand-up: that’s the joke.
C-ko is supposed to be obnoxiously innocent, from her shrill voice to her garbage-dump lunches she eagerly makes for A-ko. The way the haughty B-ko stares longingly at C-ko when the latter is at her loudest adds to the absurdity of their interactions. And unlike Mineta in My Hero Academia, who some fans find so annoying that the fanfiction site Archive of Our Own has a tag to indicate the removal of Mineta (and any traces of his history) from MHA, C-ko isn’t just some comedic side character. C-ko is essential to Project A-ko.
But I’m aware of the fact that Project A-ko hit the Western anime audience at a very particular time when there just wasn’t much anime available. Fans at the time took Project A-ko at face value, and it took the discourse around the movie in a certain direction that’s fascinating in hindsight. It’s possible I would have fallen into this trap myself—If I had watched Project A-ko back in the 1990s, I most definitely would not have understood that their class teacher is literally Creamy Mami, for example. In other words, “If a work of satire comes out in an environment where the target of satire does not exist, is it still satire?”
Generational Differences…in Spaaaace
In the anime Darling in the Franxx, the characters eventually take to space to fight a greater threat. I often welcome this familiar trope, having grown up on it as a matter of course, and the studio behind Franxx, Trigger, is often known for this particular kind of escalation. But to a number of viewers, this is the point at which the show jumps the shark. To them, the move to space battles makes little sense, and nothing about what came prior sets up this little twist. In contrast, I think Franxx is at its strongest after this point, and it’s because I’m of the A-ko generation without having previously seen A-ko.
That fandom generation gap is evident in the constant presence of that Star Wars–esque science fiction/space fantasy aesthetic in Project A-ko. Spaceships, aliens, and beam weapons are mixed into the setting and the narrative, and while technically there’s a twist, the plot revelation component is less important than the pretense it allows for more fantastic animation. And of course, there really isn’t any science fiction in the thematic or philosophical sense—it’s all about the explosions. “Why wouldn’t you have a space battle?” asks the 1980s/1990s anime fan, and Project A-ko is designed to be a collage of all the things that anime fans of the era adored.
A Worthwhile Experience
While I know all too well the period in Western anime fandom when Project A-ko was a definitive anime—from the obsession with chibis to the limited reference material that shaped the perception of anime in a certain direction—I also know that I can never truly return to that time. I can only look at Project A-ko from a point where it’s not the mind-blowing, life-altering experience that introduced me to all of the possibilities of animation. But that’s okay: Project A-ko still has a certain charm that’s hard to deny. The lack of inhibition it conveys and the loving care put into every second of it still stand the test of time, at least in terms of spectacle.
For better or worse, I’ve decided to attend Otakon 2021 this year. And barring an even more devastating report about COVID-19 and the delta variant than what’s already out, it looks like I’ll be on track. I’ll be vaccinated and masked, and while it’s basically impossible to ask anyone to be the former just one week out from Otakon, there’s also a mask mandate for the event itself. Stay safe, everyone!
I have a single Otakon panel this year, and it’s actually one I’d been trying to get into the con for a while now. Come see:
Saturday Morning MILFs (18+)
Did you know that kids’ anime has a long history of spotlighting hot moms?! They’re here to teach kids important lessons…and keep the parents from changing the channel! Explore the legacy of attractive mothers in Japanese animation and their continuing influence on the fandom.
Yes, I made an educational panel about anime MILFs. I looked at the schedule, and I’m the only 18+ panel on Friday, so it feels rather…daunting.
Anyway, I’d like to thank the following Patreon sponsors for supporting the blog and allowing me to indirectly research topics like attractive anime moms:
If I see you at Otakon, I’ll be glad to give a solid thumbs-up from a safe distance. And remember: Wash your hands, don’t touch your face, wear a mask. Let’s make this a memorable convention where no one catches COVID-19.
And one last thing: I’m really, really looking forward to seeing Gaogaigo in Super Robot Wars 30. I hope I can finish the last novel before the game comes out.
Summer 2021 anime is just beginning, and there are plenty of shows I’m looking forward to. Chief among them is Getter Robo Arc, bringing the classic giant robot franchise into the 2020s. I definitely plan on reviewing it once it’s done, but I’m curious to see how it does with a modern-day anime audience.
Speaking of robots, Bandai just announced the GX-100 Soul of Chogokin: Gaiking and Daikumaryu. Coming in at 82,500 yen and measuring about 750mm, it is going to be an impressive hunk of diecast metal. I’m not a super big fan of Gaiking, but I’m looking forward to all the toy reviews.
Also, check out this GX-100 celebration stream featuring Sasaki Isao, singer of Yamato, Gaiking, Getter Robo, and many other classic themes.
Before getting into the posts from the past month, I’d like to thank the following Patreon sponsors:
I mentioned last month that I am fully vaccinated, and it’s given me a new sense of security and freedom I didn’t have before. However, now we have a new COVID-19 variant, the Delta variant, wreaking devastation around the world. It’s also getting a foothold in the US, and I find myself nervous that I’m getting a little too complacent and worrying about trying to neitheo over- or undercompensate for the current situation. Having to balance the psychological happiness that comes from doing things again with some sense of normality with awareness that we are in no way close to getting out of this pandemic reminds me of all the conscious decisions I’ve had to make these past 18 months, and the toll it can take.
That being said, I plan on being at Otakon next month. I’ll be fully masked, and playing it as carefully as I can short of canceling. I hope it’s the right choice.
Last year at this time, it felt like the world might not ever be the same again. This past month, I became fully vaccinated.
While I’m still exercising caution in a lot of different ways (including wearing a mask in public), the extra safety a COVID-19 vaccine has provided has helped tremendously to alleviate some of the psychological pressure I’ve been feeling since 2020. For the first time in a long while, I feel like I can grasp some sense of the normal again. I’m still undecided if I want to attend the recently confirmed Otakon 2021, though.
I just hope that we actually learn from the mistakes we’ve made on a social and political level, and that we must create a better “normal” than the one that resulted in a global catastrophe powered by greed and willful ignorance. I’m fortunate to be in a place where I could obtain a vaccination after a year and a half of keeping safe, as not everyone has been able to do that. The real failures—whether they’ve been in the US, Japan, Brazil, Sweden, China, India, or elsewhere—are the consequences of poor leadership above all else.
I can’t make anyone get the vaccine, and availability varies from place to place, but I hope everyone does what they can to at least protect themselves and those they care for.
Thank you to June’s Patreon sponsors, with special gratitude to the following.
I just learned that Zettai Karen Children is ending soon after 17 years. It’s amazing to see a series that ran for seemingly forever actually reach the finish line. Authors and artists, take care of yourselves!
Otakon, the largest American anime convention on the east coast, is in trouble. Due to the ongoing pandemic stifling last year’s event and the nonprofit nature of its parent organization, Otakon is at risk of shutting down for good. In order to fight off this unfortunate possibility, Otakorp is now, for the first time ever, accepting donations online.
I make no effort to hide the fact that Otakon is by far my favorite anime convention. I’ve been an attendee since before I started Ogiue Maniax all the way back in 2007, and I’ve gone as press (and occasionally even a panelist) every year since. Writing con reports and conducting interviews with great Otakon guests have become staples of this blog and my experience as an anime fan. Donating to Otakon has been one of the easiest decisions I ever made.
What I love so much about Otakon is that it never feels as commercialized compared to some of the professionally run anime conventions that are so common these days. I can expect interesting guests from Japan, including those who might not be as well known to the mainstream anime fan, and it’s always a pleasure to pick their brains for industry insight. I also love the fan panel culture that has grown out of Otakon, where every year is full of genuinely enthusiastic presenters, both new and seasoned, who encourage their audience to explore a little further and think a little deeper about anime, manga, and fandom. And it’s also been a great place to connect to many of the fellow fans I’ve met online.
In honor of Otakon and in hopes of it continuing on, I’ve decided to list some of the great interviews I’ve done at the convention over the years. I hope they can at least show you why it’s a cultural touchstone worth saving.
Whether it was in Baltimore or DC, part of the Otakon experience for me has always been the trip there and back, for better or worse. It could be smooth sailing, or a train could break down and leave the passengers stuck for hours (this really happened). That’s why this year’s Otakon was such a pleasant surprise. Rather than the three-plus hours it would normally take, the total travel time from bed to convention was approximately 20 seconds. From the start, I could tell there was something very different about this 2020 version of Otakon.
Unlike previous years, Otakon this year was a Saturday-only event on August 1st, which had its ups and downs. For one, while I do like immersing myself in the con environment for an extended weekend, I didn’t have to take time off to attend. And although the food in DC has been great, it usually was a bit of a trek to get anything to eat (even inside the Walter E. Washington convention center). This time, amazing home-cooked meals were just a few steps away.
Panels and Workshops
Unfortunately, I did not have any panels accepted, so I was purely a spectator. This year, panels were significantly shorter, clocking in at 30 minutes per panel as opposed to the traditional one hour, but I saw it as a way to fit more presenters into the one-day event, making it a net benefit. Notably, the audience for every panel I saw was quite impressive, not only because they often numbered in the hundreds, but also because there was no trouble in getting into the panels despite such large attendance numbers. While there were some audio and video hiccups in some of the panels, they were fairly quick to resolve.
30 Years Ago: Anime in 1990
The first panel of the day I saw Daryl Surat’s “30 Years Ago: Anime in 1990,” which went through some of the highlights of anime from that time. It gave the sense of being a really transitional year, and I appreciated his highlighting of Brave Exkaiser, the first entry in the Brave franchise. He ended the panel with loving praise of the infamous Mad Bull 34, and tied its story of a rule-breaking, trigger-happy cop to current events in a manner humorous yet critical.
Carole and Tuesday
From there, I stepped into the Carole & Tuesday panel. The panel was already in progress, having started with a viewing of the first episode, but because I’d already seen the entire series, I thought it safe to skip. Amazingly, the travel time between Daryl’s presentation and this one was near-instantaneous, so I didn’t miss much. The panel started off with a beautiful musical performance by Celeina Ann (the singing voice of Tuesday Simmons), and led into an interview with her, director Watanabe Shinichirou, and (I believe) producer Makoto Nishibe. One thing I learned was that Alba City, the main setting of the show, is also a city in Cowboy Bebop. They also showed a vide of the recording and animation process, and seeing the amount of effort and collaboration that went into the show gave me a very positive impression.
Chibi Chibi Drawing Time
I normally don’t attend workshops at Otakon, but with things being so convenient this year, I decided to check out Chibi Chibi Drawing Time, which taught people how to draw super-deformed characters. It’s been a while since I scratched my art itch, and I used this opportunity to follow along with the spirit (though not always the letter) of the presenter’s guides. You can see the results below:
Into Another World: A History of Isekai
It’s the big genre that’s been sweeping the anime industry for a while, and thanks to this panel, I got to learn a little more about isekai. My main takeaways are that the introduction of gaming-oriented isekai helped to bring forth non-isekai anime in gaming-heavy settings (think Goblin Slayer and Is It Wrong to Try to Pick Up Girls in a Dungeon?), and that the number of shows seem to multiply exponentially. 2019 looked to have about three times as many isekai anime as in previous years, and I have to wonder when the juggernaut will finally slow down.
Godzilla, Kaiju Eiga and the Amazing Toho Studios
This was perhaps the best panel I saw of the entire convention, as it was meticulously researched and gave a lot of insight into the making of Godzilla as well as the kaiju movies that propelled Toho to additional fame. I was intrigued to learn about all of the different players of this time, including Godzilla director Honda Ichiro and Ultraman creator Tsuburaya Eiji. If you have the chance to see this panel, either in person or via recording, I highly recommend it.
Bootleg Anime from South Korea
I’ve attended this panel by Mike Toole before, but I always welcome an opportunity to see more “creatively appropriated” giant robots. It reminds me that, around the world, you really can’t decouple animation fandom from bootleg products, and it results in interesting products and cultural output nevertheless. I’m still waiting for that Soul of Chogokin Taekwon V.
I appreciated how different Otakon was for 2020, and the heavy focus on panels appealed to me a lot (I truly think they’ve always been the best part of the con). At the same time, I think I’m still a bigger fan of the regular version. The unusual format meant there were no autograph signings or big live concerts this year, and I didn’t really get to spot any unique or unusual cosplay. I also miss doing interviews.
I wouldn’t another Otakon like this, but I’m hoping 2021 provides a return to the tried and true classic.
Kio Shimoku has historically been a very private person, not even revealing his face until 2018. Shockingly, the Genshiken author had his very first audio interview, and it was by a Virtual Youtuber to boot! Luis Cammy is apparently a big fan of Kio’s work, and talked with him for a whopping 80+ minutes.
Translating the whole thing would be a whole endeavor in itself, but you’ll find all the notes I’ve taken from the interview. There’s a lot of it that’s all-new information and insight into Kio’s creative history.
Note that Kio has a remarkably deep voice. Personally, he reminds me a bit of Kugayama from Genshiken.
Also, as a final disclaimer, it’s possible I misunderstood some of the things spoken about. If anyone has corrections, feel free to leave comments!
Introduction and Miscellaneous
Luis has been a fan of his work since Gonensei (“The Fifth Year”), an early Kio manga and dark sequel to his prior work, Yonensei (“The Fourth Year”).
As part of their collaboration, Luis sang a cover of the Kujibiki Unbalance opening, and Kio provided drawings of Luis cosplaying as Ritsuko Kübel Kettenkrad for a music video. The video
It’s meant to resemble late 1990s to early 2000s galge/dating sim intros. Luis looks like Saki from Genshiken/Ritsuko already, so it was a challenge to differentiate her.
Kio learned about VTubers from manga author gatherings. He doesn’t watch YouTubers much, let alone VTubers.
When asked if he knew how popular his work was at the time, Kio said he didn’t really look at comments online, but felt he rode the wave of the era.
The very beginning of Genshiken was Kio wanting to draw otaku as normal people. He want to madk what he himself wanted to read.
Luis mentions that otaku and their status have changed drastically since the days of Genshiken (when otaku were picked on and persecuted), like how there are light otaku now. Kio says his daughter is in middle school right now, and to her, she doesn’t get the whole otaku-as-negative thing. A group of popular kids in her class have Demon Slayer: Kimetsu no Yaiba merch. Kio responds, “Times have changed, huh?”
Luis talks about how even regular folks say they like her, and it’s like the wall between normies and otaku isn’t there. Madarame has become a popular representative of otaku (to the extent that he’s Kio’s visual stand-in for this interview).
Kio talks about how, in the very earliest planning stages, the first idea he sent to editorial was about the relationship between Madarame, Kousaka, and Saki. The love triangle was inspired by Ping-Pong Club, the nose-hair chapter in particular. That scene was thought up very early on, back when Genshiken was a mere chick. In a sense, Madarame and his romantic relationships were a part of Genshiken from the start.
Luis talks about her mahjong teacher, Saito Go (a professional player and mahjong VTuber), likes Genshiken. He especially remembers that scene with Madarame and Saki eating sushi together, and then not talking afterward on the train ride home.
Luis points out that Kio likes to use silent panels, which Kio agrees with. However, he thinks overdoing it with those types of panels isn’t good either. The nose-hair chapter ends in silence too. Luis says a lot of information can be conveyed in such panels. Kio says it can convey a sense of realism.
Luis points out that the recording was the day of Saki’s birthday!
When creating character profiles for the compiled manga volumes, Kio had to come up with birthdays. He actually used Gundam Horoscopes to think them up. [This has been mentioned in other sources before, like the Japan-only Genshiken Official Data Book.] Actually, it was sort of like a backwards horoscope, in that he picked a mobile suit that would fit Saki well, and decided the birthday based on that. Sasahara is a Ball.
Personal Questions and Family Life
Kio is into Gunpla. He got into it when he was a 6 thanks to his bigger brother. Plamo-Kyoshiro (the 1980s precursor to Gundam Build Fighters) was his “bible.” He would categorize himself as a plastic model otaku above all else. He still wants to continue it as a hobby, but he’s busy. In Plamo-Kyoshiro, the way they used cardboard boxes in the manga really sparked his imagination as a kid.
Luis asks if Kio’s daughter ever says, “Why is our home filling up with more [otaku] stuff?” Kio says that his workplace is different from his home, so it’s his workplace that gets filled up instead. Doesn’t think his daughter is an otaku, but can’t say for sure. Luis jokes about Kio’s daughter showing up on the live recording and telling him not to say so much. Kio mentions that she doesn’t know about this, so Luis responds that she could come in saying, “It sounds like you’re doing a broadcast with someone from Nijisanji.” Kio comments that she might actually know what VTubers are.
Kio’s daughter has always walked in while he’s drawing manga, so she’s been reading manga for a long time. Kio still reads current manga. Luis says that manga has become like a “communication tool” these days, like, “What? Do you know this title?” as a conversation starter.
Genshiken More In-Depth
Luis describes the first Genshiken as being about ancient otaku. She asks Kio, if there was a Genshiken Third Generation, would it have VTubers and stuff in it? What kinds of characters and what sort of content would it include?
Kio concurs that they’re ancient otaku. His thinking was, “If I try to draw something totally new, it’ll quickly date itself. But if I make them feel older, than it’ll age better.” He doesn’t consider himself to be on the cutting edge. Genshiken came from whatt he personally wanted to draw. As it continued, it progressed into fujoshi stuff.
As for VTubers, once they become old, maybe then they’d show up in Genshiken. Kio says that plenty of current manga have VTubers in them already.
Luis asks if Kio is happy to have ended Second Generation when he did, and Kio says yes. “It felt like, ‘That’s about where it should stop.’” He explains how the sequel started out as a one-shot, but he’s not good at doing extra stories and the like, so he kept on working on it. Kodansha editorial (the publisher of Genshiken) said he should do enough to fill one volume. It was originally supposed to be a short serialization.
Kio began with the thought of “How would Ogiue and the others continue the club?” and of course, it would end up with a bunch of fujoshi. But would it be all girls? What about guys? Hence, Hato.
Kio really went back and forth about whether or not to include a character like Hato. When he was drawing the manuscript, he kept having the feeling of “Is this really okay?” Coming up with the idea of Hato purposely using a more feminine voice is when he finally thought he could make it work. Fujoshi and otoko no ko (boys who dress convincingly as girls) are the main aspects of Second Generation. Kio didn’t want to put Hato through so much hardship, but as the story progressed, he felt that’s what should happen—though he did worry over it.
The original Genshiken was supposed to be in real time, and things moved quickly. But it stopped being that way during the Ogiue story at Karuizawa. At the time, Ogiue was a “problem child” when it came to drawing the manga, as he didn’t know if he could resolve her backstory. It’d be difficult to do that and still maintain the “real-time” thing, and he would’ve selfishly wanted to end the series in the Spring if it had stuck to being in real time. But it took multiple months to get through the Ogiue story.
The series was supposed to end at Volume 8, but then there were plans for the second special official doujinshi [the first one was included with Volume 6]. Because of that, they decided to continue the series up to Volume 9. The original Genshiken features Ogiue’s turmoil, and Second Generation features Hato’s turmoil.
Luis comments how there are the Ogiue fans, and then there are Hato fans. Kio responds, “The Ogiue fans really are somethingl…” and then trails off. [Ogiue Maniax note: I feel attacked.]
There are things that were hard to put into Genshiken, like sexual stuff. That’s where Spotted Flowercomes from. From here, the two jokingly pussyfoot around Spotted Flower’s similarities to Genshiken.
Luis talks about how Spotted Flower is a different world (tongue-in-cheek), but it has kind of a crossover feel. Kio responds that they’re ostensibly different characters. Luis replies that the series is like a “what-if” universe (if-sekai in Japanese).
Kio says it’s not supposed to be them, but through it, he can do what he couldn’t in Genshiken.
Luis says, “What-If Madarame has a ‘Why youuuu!’ feeling.” Kio laments the husband as well.
Spotted Flower was supposed to be just a few short pages for Rakuen: Le Paradis magazine. The resemblance to other characters was originally not planned, but is actually something he noticed after the fact. He didn’t explain the meaning of the title to them when he submitted it [madara means “spot” and saki means “bloom”], so they probably didn’t realize at first. So he figured, “Why not keep going?” and it developed along the way.
“And now there are four volumes,” says Luis..
Kio’s feelings: “It’s not a book that comes out often, but if it interests you, I’m grateful.”
It was one thing when it was just the husband and wife, but then he added the Hato-like character, and the Kousaka-like character, and so on. He still can’t really say for sure that it’s them.
Hashikko Ensemble and Kio’s Overall Career
Luis finds the Hashikko Ensemblemain character Akira cute. Kio says that he began with the idea that Akira would have that gap between his very deep voice and his shy personality.
Volume 5 of Hashikko Ensemble should be coming in September.
Kio says he’s been in the manga business for 25 years. Luis thinks all his works are great, in terms of information provided, emotion, and atmosphere all being wrapped up in them. “It’s no small stuff.” To Kio, he sees all the things she mentioned as his shortcomings Luis comments that she enjoys seeing Kio reflect on his work.
Kio is the type to regret not saying this or doing that. Luis remarks that this is a live broadcast—is Kio okay?
Kio doesn’t recognize his own voice when recording. Luis said she never thought of her voice as anything special but the fans would say it’s cute. Luis compares Akira’s voice to Kio’s. Kio never had any experience with singing or choruses, but figured, why not give Akira a deep voice like himself?
He thinks people who can come up with characters purely from imagination are amazing.
Hashikko Ensemble a story of the passion of youth, but Kio didn’t originally plan it that way. Like Genshiken, he wanted the story to be something ridiculous and fun, and landed on “chorus club high schoolers.”
Luis loves stories about the passion of youth (seishun), like Yowamushi Pedal and Big Windup. Kio replies that he’s never drawn manga in that vein—like Chihayafuru—but thought, “If I put all I had into it, could I draw one?” The characters in Genshiken are all pretty mellow. He wasn’t that good at drawing the kind of youthfulness that appears in Hashikko Ensemble, at first.
Luis makes the argument that the original Genshiken is a “passion of youth” story, because it’about figuring out what club to join and what to do? Like, Kugayama’s waffling on whether or not to draw, or Ogiue’s decision to go, “I guess I’m gonna draw.”
The kinds of “passion of youth” stories Kio enjoys are a little strange—not so much “hot-blooded stuff.” Luis describes Madarame as a hot-blooded otaku. As for being a passion of youth story, what about that story with Saki mentioning Madarame looks good in his new glasses?
Originally, Genshiken was supposed to be a club that doesn’t put anything out. One of the things that made Ogiue tricky is that she wanted to draw herself, so Kio had no choice but to make a story about her trying to get into Comic Festival [the Genshiken in-universe equivalent of Comic Market].
Luis says Genshiken is what made her want to attend Comic Market as part of a circle. She asks Kio if he ever participated as an artist. Kio says yes!
Kio released a doujinshi at Comic Market in 2003 (Luis points out that 2004 was the year of the first Genshiken anime, which Kio totally forgot about).
Kio did not use the name “Kio Shimoku” for Comic Market. He sold 200 books, which impresses Luis. For reference, Luis says that 100 is considered a lot, and she herself sold 50 copies of her own doujinshi at a Comitia [a major doujin event primarily dedicated to original, non-fan works].
The doujinshi was indeed pornographic, and an original work. It bears resemblance to Kujibiki Unbalance and Genshiken.
Luis talks about how big sister loves Kujibiki Unbalance, to the extent that she put out a pornographic doujinshi starring Ritsuko. Luis helped her a lot with it, including stapling it together.
“Putting out a Kujibiki Unbalance-esque doujinshi yourself is like actually being in Genshiken,” says Luis.
Kio also participated at Comic Market a second time—in 2010. It was a doujinshi based on a “certain space opera that uses Episodes,” flipping around the genders of the character roles involved. The inspiration was that with some wordplay, the title resembled the phrase “Sister Wars.” He drew what was supposed to just be a manuscript based on Episode 1, but it ended up being 350 pages. Kio wanted to draw up to six.
“Please complete it!” Luis says.
“But I wouldn’t be able to sell it!” Kio replies.
[Ogiue Maniax note: One of Ogiue’s characteristics is prolific output, just like Kio here.]
Luis asks if there’s anything he’s watched lately, old anime or new anime. Kio doesn’t have anything, and Luis says his free time to just sit down and watch without moving must have decreased. Kio agrees.
Kio wants to absorb more shows, but just doesn’t have the time.
Questions from Kio for Nijisanji
As future reference for manga, Kio asks if VTubers wear sensors to track movement. Luis responds that it uses 3D tracking. She quickly “corrects” that the animated figure you see is the real her.
Luis says that Kio’s participation in Comic Market makes his manga feel more real.
The two talk more about the Kujibiki Unbalance music video they collaborated on. Kio says it’s like a doujin-style fan work. Luis talks about how she has Genshiken and Kujibiki Unbalance merch. Luis has the Kujibiki Unbalance Ritsuko school swimsuit clear file drawn by the light novel artist, Yagumo Kengou. Kio mentions that the image was a request from him [Ogiue Maniax note: Not 100% sure about this last sentence].
Kio mentions that he gets some harsh comments, but others will say “That’s the kind of author he was all along!” But he doesn’t want to remember himself from the Gonensei era.
What an Interview!
There’s a lot to unpack in this interview. I hope to follow up with an analysis.
Also, I can’t believe there’s a Virtual Youtuber who’s into Genshiken, Kio Shimoku, and mahjong! It’s like someone designed a VTuber especially for me.