There are two success stories to tell about the 1981 giant robot anime Six God Combination God Mars. The first is about a combining giant robot that was better as a toy than as an animated figure in motion: toy sales were strong enough to extend the series beyond its first year, but the awkward stiffness of the titular God Mars itself is something of a running gag (as seen in the YouTube comments here). The second, and I think the one that should get more attention among English-speaking anime fans, is about the tremendous influence of God Mars on Japan’s female anime fandom and doujinshi scene. In a time when pairing same-sex characters from your favorite series was not yet the full-on cottage industry it is today, God Mars was a cornerstone title alongside Captain Tsubasa.
I personally came to know about God Mars twenty years ago, although knowledge about the two aspects of the series came at different times. It was a collection of giant robot anime openings around 2001 that introduced me to the show and its impressive-looking mecha, but it was actually 2004’s Genshiken Official Data Book (of all things)that first brought to my attention God Mars’s popularity with women. Years later at Otakon 2010, voice actor Mitsuya Yuji mentioned among his most popular roles a character from God Mars named Marg. Now, I have the entire series on physical media thanks to Discotek (with 25 episodes up for free on TMS’s Youtube channel), and I’ve finally come to understand what made God Mars one of the granddaddies of fandom pairing in Japan.
Simply put, it’s Marg. Once you know about him, it becomes crystal clear why a female fandom around God Mars developed.
Marg is not the main character. That honor goes to Myoujin Takeru, a guy with psychic powers who discovers that he is actually an alien named Mars sent from the planet Gishin to destroy Earth. However, Takeru manages to defy the evil Emperor Zul and use the very weapon originally meant to eliminate Earth to instead form God Mars and beat back the Gishin Empire. Along the way, he discovers many truths about his original home world, including that he has a long lost brother—Marg—in Zul’s clutches. The dramas that emerge from their familial relationship include attempts to reunite, the pain of separation, and even the crossing of swords due to various plot contrivances.
Marg is ridiculously beautiful both inside and out. He has lush locks of long green hair, and eyes that can express the deepest kindness but also the most fervent passion. His voice is gentle yet powerful, and his forlorn communications with Takeru express a longing and desire to see Takeru—unless he’s being brainwashed into being the enemy, of course, at which point his anger is spine-tingling. Whenever Marg shows up, he becomes the most captivating figure on screen.
Given that we’re talking about shipping and coupling, it’s not entirely accurate to pin it all on Marg. The popularity of a series among female fans traditionally hinges on the relationships between characters rather than singular personalities, and Takeru himself is no slouch. Not only does he look like a more handsome version of many a 70s robot protagonist, but he is perhaps the angstiest hero ever to grace a giant robot anime. Sure, Shinji from Evangelion is traumatized and depressed, and Heero Yuy from Gundam W is dark and brooding, but they don’t angst the way Takeru does. Naturally, more often than not, that anguish has something to do with Marg. And yes, they’re brothers by blood. Whether that was an additional awakening for fans in 1981, I’m not sure. I wouldn’t be surprised.
Even before God Mars, there were plenty of good-looking and charismatic secondary characters in mecha anime. Between directors Tomino Yoshiyuki and Nagahama Tadao, they all but cornered the market: Prince Sharkin (Reideen), Garuda (Combattler V), Prince Heinel (Voltes V), Richter (Daimos), and both Char Aznable and Garma Zabi (Gundam). The key difference between these major rivals and Marg is that the latter is so many things in one. He’s an adversary at some times, but at other times he’s basically a damsel in distress.
There is something I need to make clear: Unlike so many later anime, which could be constructed from head to toe with a female audience in mind (or at least pay regular lip service to that side of fandom), God Mars is still built on the foundation of a toy-shilling kids’ anime. It is 65 episodes long, and not every episode is exactly compelling. There’s an unsurprising inconsistency in terms of the show’s quality with respect to storytelling and animation quality. In addition to the notorious stiffness of God Mars the robot, the anime is rife with fights between characters with psychic powers that revolve around dramatic poses in still shots in lieu of actual movement—a style of action scene the book Even a Monkey Can Draw Manga mocks for its laziness. And dashing canon hopes of brotherly love, the series pairs Takeru with a female character, albeit one with a connection to Marg. In other words, back in 1981, fujoshi had to walk uphill both ways to get their BL shipping fix.
Even so, a girls’ fandom emerged out of God Mars, and plenty of evidence exists that the creators became aware of this audience eventually. The TV series keeps finding ways to bring him back in different forms. A 1982 movie recap of the first 26 or so episodes reduces the screen time of other supporting characters in favor of more Marg, and the poster advertising the film even features him prominently (see above). A later OVA released in 1988—well after God Mars’s heyday—centers around Marg entirely. A look at God Mars merchandise reveals both official and unofficial works where Marg takes up a lot of real estate.
When I was going over my own prior history with God Mars, I omitted one thing: the game Super Robot Wars D for the Gameboy Advance. God Mars is one of the titles included, and in the game, you can manage to not only recruit Marg to your side but also have him pilot an alternate God Mars from that 1988 OVA in which he’s the star. Once together, Takeru and Marg can perform combination attacks like the “Double Final God Mars.” I can’t help but wonder if there were both kinds of God Mars fans working on this game, bringing together the hopes and dreams of those whose lives were changed in some part by God Mars and its two successes.
Another decade of anime and manga has passed, which means it’s time to reflect on all the things that have happened in and around our favorite Japanese art and entertainment forms. With more anime than any time previous, there’s an overwhelming amount of history to look at, so I’m going to be focusing on what I consider interesting and/or important trends.
This decade more or less began and ended with painful events that have shaped and will continue to shape Japan and its anime and manga industries for years to come. March 11, 2011 was the day that a combined earthquake and tsunami struck the Fukushima Daiichi nuclear power plant, causing nuclear meltdowns. July 18, 2019 was the date of the arson attack on Kyoto Animation, killing over 30 people, injuring even more, and leaving the famed studio’s main building in flames.
The Fukushima triple disaster was brought in part by nature but also human negligence at the highest levels of authority, and it destroyed villages, displaced people from their homes, took lives, and contaminated land and water. The area, one known for its rice crop in a nation where rice is a staple food, had to deal with the all-too-familiar fear that nuclear power conjures up in Japan via Hiroshima and Nagasaki.
Fukushima’s consequences are far, far bigger than any one industry, but that’s precisely why they have had an indelible effect on anime and manga. Suddenly, there was the realization that whatever anti-nuclear messages existed in pop culture weren’t enough. It was almost too poetic a timing that Coppelion, a manga about genetically engineered girls having to rescue human survivors in a post-meltdown Tokyo, began only months prior to Fukushima. Anime such as Madoka Magica that were aired during that period suddenly had their surrounding contexts changed.
But the disaster also brought support from across the anime and manga industries to Fukushima and the surrounding Tohoku region. Creators left messages encouraging and praying for a revival, and as the land has started to improve (though to what extent is up for debate), there’s an active push by the government to encourage tourism and purchase of local goods. Anime and manga also play a role here too as part of the campaign to bring people back.
In contrast, the Kyoto Animation attack was like a direct strike to the heart and soul of the anime industry. Not only was it the worst domestic attack since World War II—even worse than the Tokyo sarin gas attack—but KyoAni has been a pioneer of better wages and better gender equality in anime in addition to their creating popular and critically acclaimed works. It’s unclear how the anime and manga industries will react to this over time (aside from better security), but the biggest question mark will be about what could have been.
There was a lot of talent lost, notably The Disappearance of Suzumiya Haruhiand Kobayashi-san’s Dragon Maid director Takemoto Yasuhiro, and it’s sad that they will have the chance to keep working and creating. There is one bright side, however: KyoAni has started up their animation school again, and their mission to prepare the next generation is more vital than ever.
An aside: One odd bit of humor to come out all this was that the days after the disasters, the only commercial on Japanese TV was apparently ads telling people to greet each other more. These drove Japanese viewers nuts, so some of the more artistic ones started turning the animal mascots in these commercials into transforming robots.
Fujoshi Integration and the Permanence of the Otaku Hero
Back when I originally started Ogiue Maniax in 2007, one thing I was interested in was the portrayal of otaku characters, and by extension the fujoshi characters that began appearing more and more at the time. Going into 2010, this feeling was still quite strong, but as I continued to keep an eye on series with otaku in them, it became harder and harder to keep up. The Fujoshi Files, my on-going archiving of fujoshi characters, is on semi-hiatus right now because I’ve simply been overwhelmed by the fact that you just never know when a fujoshi character will show up for two episodes in an obscure TV series. In other words, otaku characters aren’t just commonplace now—they’re arguably an over-saturated archetype.
This is especially the case with the isekai genre and fantasy light novel series, where having an otaku of some kind (it doesn’t necessarily have to be an anime otaku) is de rigueur for the kinds of power fantasies that are ubiquitous in that realm. But the prevalence of the Otaku hero isn’t even limited to that particular world. Onoda from Yowamushi Pedal and Deku from the wildly popular MyHero Academia, both straightforward shounen leads, have otaku minds. At this point, sometimes it’s easier to ask whether a protagonist isn’t an otaku.
Moe in Moderation
Throughout the 2000s, it was “moe” this, “moe” that. There were haters, there were supporters (me included), and those caught in the middle. In 2019, however, it’s past its prime (at least in the old familiar form) to the extent that the term itself has faded immensely in the otaku lexicon.
In hindsight, I think of moe as like a food with a very intense and peculiar flavor that is probably good in reasonable doses. The problem is that people gorged on it until they got sick, and had to eventually learn when less is more. The occasional smorgasbord happens, not now you see hints or accents of moe in more things—music, horror, and even the most serious and mature titles. It’s part of why I think sports series have started to gain traction in the United States when there was like success in the past: people realized that the core appeal of sports anime and manga was less the athletics themselves and more the human drama that comes with exploring characters’ weaknesses and struggles. Even a softer shounen hero like Tanjiro in Demon Slayer has moe qualities that quite possibly outstrip even his sister’s tremendous qualities.
I one commented to anime podcaster and ex-Crunchyroll guy Evan Minto that Eureka Seven was a moe show. He found it absurd, but I was serious, because moe came from empathizing with its characters vulnerabilities. Just because a character can be moe doesn’t mean they’re useless, and I think that’s a big lesson that has been taken to heart by anime and manga as a whole.
Plus, you can still totally find all-you-can-moe buffets whenever you feel the need to go nuts.
Perhaps due to the success of the Marvel Cinematic Universe, the American conception of the superhero (in contrast to the Kamen Rider, for example) is now a regular part of anime and manga. Putting aside the Marvel and DC co-productions, this decade has seen Tiger & Bunny, One Punch Man, and My Hero Academiaall reach enormous success (albeit not always for the same reasons). You also have series like Heroman, and the fact that Disney’s Big Hero 6 film has a Japanese protagonist perhaps says something about the desire for international appeal.
It’s interesting that so many specifically embrace an American aesthetic, whether it’s red, white, and blue motifs in its characters or American-style cities as settings, and it really speaks to the fact that they’re aiming for that “capes” aesthetic. However, what’s even more noteworthy is the way these manga and anime have been embraced by superhero comics fans as being better at telling superhero stories than many current American comics.
Superheroes also create an amazing bridge for being American comics fans to come to manga and for manga fans to check out American comics. It’s perhaps easier than ever to transition between the two.
Steps Towards Mainstreaming LGBT
Queer romances have long been a part of manga and anime—Hagio Moto’s Heart of Thomas from the 1970s is generally considered the first one shounen ai manga. The portrayal of BL and yuri can differ significantly from real relationships, with the former often being for the pleasure of non-queer audiences, but this openness has attracted many fans, and there are more and more works that try to support a queer audience as well. But Japan is still in many ways a conservative culture, and positive mainstream depictions of non-heteronormative characters can come with a lot of baggage.
While there is still a ways to go, there is a general trend towards more consideration for LGBT characters these past ten years. Gatchaman Crowds, for example, features three characters each with different types of non-cishet expression, going beyond the original Gatchaman and Berg Katze’s dual genders while keeping them respectful. Genshiken Nidaime (aka Second Season aka Second Generation) has a crossdressing fudanshi with complicated feelings at the center of it’s story who tries to navigate the difference between BL fandom and homosexuality. Yuri!!! On Ice features the gradual development of a clearly gay relationship as its core, but its lack of standard BL flourishes engendered a debate about whether it should be called BL at all. Tagame Gengoroh’s My Brother’s Husband won both Japanese and international acclaim.
One stand-out example of LGBT becoming a little more mainstream in anime and manga, to me, is how it’s been handled in the Precure franchise. While it’s always had its yuri fans, and Kira Kira Precure A La Mode even strongly hinted at something between two of its characters, it’s 2018’s Hugtto! Precure that made an entire subplot out of the burgeoning gay relationship between two minor characters—one of whom is implied to struggle with his self-directed homophobia. While the franchise still doesn’t have the courage to say the word “gay,” it at least has these characters holding hands, giving hearts to each other, and telling presumably very young viewers to not let anyone else define who they are. Sailor Moon had Neptune and Uranus, but this is another layer.
From Sekai-kei to Game-like Isekai, Ironic Isekai, and Beyond
In the previous decade, one of the popular genres of Japanese fiction, especially in the realm of anime and manga but also light novels and games, was sekai-kei. Literally meaning “world-style,” it’s actually almost the opposite of what you probably think. Instead of being focused on world-building, it’s about stories where the outcome of the world rests upon the relationship between two characters. I would call Haruhian example of sekai-kei because their fate rests upon Haruhi and how Kyon interacts with her.
I feel that, since 2010 or maybe even a little sooner, we’ve been seeing fewer and fewer sekai-kei stories. In their place has been a surge in isekai (transported to another world stories) that’s impossible to ignore.
Isekai is nothing new, and there are examples in modern Japanese fiction dating back to the 1970s. Even Gundam director Tomino’s Byston Well series is an isekai. The big difference now, however, has been the game-like approach to isekai. Whether the hero is literally trapped in a video game (Sword Art Online, Log Horizon) or where it’s simply an extremely game-like universe (KonoSuba, Re:ZERO, Overlord), there’s a presumption about RPGs as a common-knowledge experience. Here, the fate of the world usually rests on the hero who’s simultaneously underpowered and overpowered. Rather than necessarily being about exploring the new world, these stories have been mostly either power fantasies or responses to power fantasies.
Japanese scholar Azuma Hiroki wrote about “game-like realism” in the sense of a reality with no beginning, middle, and end, and plenty of alternate realities. While it doesn’t map perfectly, current isekai can be seen as a kind of attempt to wrangle these notions back into a straightforward, albeit open-ended and often meandering format.
Isekai has gotten so prevalent that some online novel contests have even begun to forbidisekai entries. But it also means that it’s ripe for parody. The Devil is a Part-Timer! is a reverse-isekai where a hero and a demon lord end up in modern Japan. The Hero is Overpowered But Overly Cautious plays on an idea that many RPG players are familiar with: making absolutely sure everything is perfect to the point of virtual neurosis. They’re not all winners, but there’s a desire to explore isekai as an archetype, and it’ll be interesting to see how far this goes.
The Ascendance of Mobile Games
Part of the story of the 2010s the world over is the rise of mobile games, and in Japan this translated to character-focused gacha. These digital waifu and husbando slot machines are a powerful thing, and the devotion they engender can veer straight into “gambling addiction” territory, but it also can’t be denied how much of an influence they’ve had on anime, manga, and fandom.
Consider the Fate franchise, which went from being once defined by its original visual novel to being known primarily through the absurdly successful and profitableFate/Grand Order mobile game. Also look at Granblue Fantasy, which helped make the company Cygames into a major player—the Granblue Fantasy anime shows a budget few can even dream of.
Even The iDOLM@STER, which began as console games, has in part taken on new life by having a virtually limitless selection of idols to obtain through its apps. Love Live! found success through various channels, but there are many people who became fans solely through the School Idol Festival game. And Kantai Collection technically started as a browser game, but it’s cut from a similar mold, and it’s notable that it’s become one of the franchises that dominates Comic Market.
There have been tons of light novel anime and manga adaptations, but the amount of works based on mobile games steadily increased over the decade as well. This doesn’t mean they’re inherently bad—Rage of Bahamut Genesis is one that sticks out to me as exceptional—but it’s certainly become a crowded field where “adaptation as advertisement” and “adaptation as mark of prestige” exist in the same space.
Anime as Faithful Reproduction Instead of Creative Interpretation
In decades past, whenever there was an anime adaptation of something with multiple paths—a dating sim, for instance—the common approach was to synthesize all of the different routes into a single story with the canon heroine being the winner. But starting in 2010 with Amagami SS (or possibly something even sooner) it started to become more common to adapt every path. Each couple of episodes was basically a different what-if where the protagonist ends up with a different girl. The most extreme version of this might be the movies fully dedicated to the alternate stories of Fate/Stay Night, Unlimited Blade Works and Heaven’s Feel.
In a way, it’s an extension of what we saw with Kyoto Animation’s adaptations of Key games. While those shows still synthesized all the routes, there was a more active adherence to the look and feel of the source material, right down to using the original theme songs. Anime, rather than trying to do its own thing with the material given, is more likely to try and stick to the script. Filler arcs or anime-original material were out, and season delays were in, for better or worse. 2009’s Fullmetal Alchemist: Brotherhood (intentionally made to follow the manga’s story more than the first anime) also set a precedent.
Not everything is about adhering to a source material, however. While nostalgia is a strong force in media and entertainment, it’s still possible for a remake or re-imagining is able to go well beyond and turn into something unique and special. Every decade has its own fair share of excellent revivals, but I found the 2010s to be full of especially smart and creative takes on classic franchises. The aforementioned Gatchaman Crowds took the idea of the superhero team and pushed it into an age of social media and gamification. Devilman Crybaby is essentially the original Devilman manga retold, the signature art style of Yuasa Masaaki gave it new life and also highlighted the fact that a lot of the 1970s manga’s theme resonate just as much, if not more today. The Rebuild of Evangelionmovies have all been impressive and have dared to go in strange directions, though we’re not actually seeing the conclusion until 2020 rolls around. In the most on-brand move possible, director Anno Hideaki became depressed after the third film, and it wasn’t until he directed the excellent Shin Godzilla (another update to a classic franchise) that he found the spark to go back to Shinji and friends.
Once, getting translated anime and manga the day after release in Japan was a foolish dream. Then, with the advent of high-speed internet it became technically possible—but it was the domain of speed subbers and speed scanlators, with the requisite decline in quality. But now we’ve had a decade of not just quick releases but ones that are official, whose success can and will be noticed by Japan. Crunchyroll, HiDive, and Comixology are among the many resources available to fans, and while Netflix is often not technically a simulstream most of the time, its presence in the world of online streaming can’t be denied.
This is partially a tale of the direction of technology. More smartphones and better tablets mean streaming decent-quality images is more likely than ever before. Gone are the specific limitations of the past that made trying to view anime and manga a chore. It’s also the story of Japan being dragged into the current age, as much as its companies (especially manga) have tried to resist the digitizing of these mediums.
The amount of legal digital anime and manga options is ever increasing even in Japan. Comic Walker and Book Walker make following new releases almost trivial. Bandai Channel is more expansive than ever. Many manga publishers have series that start off as free webcomics now. Notably, the second iteration of One Punch Man started on Tonari no Young Jump. The amount of digital users keeps rising around the world, and it’ll likely not stop for a long time.
What Lies Ahead
While it’s mere coincidence, the fact that Japan is heading into the next decade of anime and manga alongside a newly coronated emperor seems poetic. For Part 3 of the 2010–2019 series, I’ll be giving my predictions as to where I think anime and manga will go in 2020 onwards.
This fujoshi is a friend of the manga’s author Mapi Mapi, and goes shopping with her for otaku and non-otaku goods. Once, she tried to make friends with an unseen stranger she heard doing anime karaoke, but forgot to put away her graphic doujinshi first.
She is also a fan of Prince of Tennis, including the Prince of Tennis musical.
Fujoshi Level: When asked if inserting herself into a doujinshi is okay, she mentions that it’s a big no-no because the character in question should be gay and would never marry a girl.
Name: Koyanagi, Hanako (小柳花子) Alias: N/A Relationship Status: Dating Origin: Wotaku ni Koi wa Muzukashii!
Information: Koyanagi Hanako is a 27-year-old OL (office lady) who cosplays in her free time. In and out of the office, Hanako is generally cool and collected, though she often butts heads with her co-worker and boyfriend, Kabakura Tarou. An avid cosplayer (especially of male characters) and a fan of Takarazuka, she’s also friends with her fellow fujoshi, Momose Narumi, and her boyfriend, Nifuji Hirotaka.
Koyanagi will often read BL right in front of her boyfriend, partly to tease him, partly because she aggressively doesn’t care.
Name: Momose, Narumi (桃瀬成海) Alias: N/A Relationship Status: Dating Origin: Wotaku ni Koi wa Muzukashii!
Information: Momose Narumi is a 26-year-old OL (office lady) who comes to date her childhood friend and co-worker, Nifuji Hirotaka. Cheerful and hardworking, she supports and is supported by Hirotaka through their mutual understanding and love of otaku subculture (Hirotaka is a gamer while Narumi is a fujoshi). Narumi is also friends with her co-workers Kabakura Tarou and Koyanagi Hanako, the latter being a fellow fujoshi.
A closet fujoshi at the workplace, Narumi was once so visibly shaken by the fact that her favorite manga character had died unexpectedly that it affected her ability to concentrate on her job.
Information: Fujimi is a high school girl who gets nervous speaking in public, even when ordering at a cafe. At one point she spots Galko, a gyaru from another high school, reading one of her favorite manga. Fujimi enjoys seeing Galko react to a BL development in the middle of the manga, but is otherwise daunted by Galko’s fashionable appearance.
Outside of being a BL fan and reading a lot of manga, nothing else is known.
Name: Rulutieh (ルルティエ) Alias: N/A Relationship Status: Single Origin: Utawaterumono: The False Faces
Rulutieh is the youngest princess of the vassal state of Kujuuri. Accompanied by her trusty companion, an adorable yet powerful giant bird named Kokopo, she winds up traveling with the amnesiac Haku and his guardian Kuon to the capital of Yamato. Though typically shy and softspoken, her passion can be roused by the thoughts of two men showing passion for each other. Rulutieh’s father is Oozen, one of the Eight Pillar Generals.
In the capital of Yamato, Rulutieh comes across a shop selling original editions of male-male romance art books. The uncharacteristic aggression she expresses at finding such rare treasures is enough to scare her friend and fellow princess Atui.
Name: Zombina (ゾンビーナ) Alias: N/A Relationship Status: Single Origin: Monster Musume: Everyday Life with Monster Girls
Zombina is a member of M.O.N., a monster girl task force that deals with monsters who break the law in regards to the Interspecies Protection Act that allows monsters to live in the human world. As a zombie, she does not feel pain, and is able to lose body parts without it seriously affecting her negatively. Zombina is clever, utterly without inhibition, and a lover of firearms. However, accuracy is less important to her than being able to cover a wide swathe with bullets. She also enjoys zombie movies.
Zombina is a “rotten girl” both in the sense of being a decaying corpse and a lover of BL. She especially loves Levi x Eren and Bertolt x Eren from Attack on Titan (itself a zombie-esque manga), and hopes to go to a yaoi doujin event someday.
Information: A middle school student and resident of Gotou Island near Kyuushuu, Arai Tamako is an aspiring manga artist who wishes to be published in a shounen magazine. However, unlike the typical manga for a shounen publication, Tamako combines an eccentric art style and bizarrely violent content that one might see in a more avant-garde magazine. She is best friends with Yamamura Miwa, with whom she occasionally bickers but also teams up with to tease the weak, be they younger or older. Tamako also has a younger brother, Aki, who is more level-headed.
Tamako discovered BL by accident at a younger age, and though she claims that side to be a small part of her general interest in manga, she is afraid of the other residents of Gotou Island finding out the truth. On top of that, the arrival of master calligrapher Handa Seishuu to the island has sparked her fujoshi imagination, especially when it comes to the (imaginary) relationship between him and high schooler Kido Hiroshi.
Though Tamako originally struggled to suppress her fujocity, over time she has increasingly let it slip through. She reaches the point where she is on some level trying to assert her fantasy in reality by suggesting somewhat openly to Seishuu and Hiroshi that something should happen.
Information: Along with her younger identical twin sister Manabi, Hinata is a member of the dance group “Team Sakura.” Together the two specialize in using their close bond as twins to perform dances with superior synchronization, which leads them to be invited to participate in a secret underground competition called “Dance Road.” The more reserved and feminine of the two, Hinata often refers to her mood and situations in general using the English words “happy” and “unhappy.” It is at “unhappy” points that Hinata becomes scarier than her Manabi.
Hinata comes from an extremely wealthy family. In addition to having a loyal butler, she and Manabi frequently travel around the world both to explore and to meet their favorite dancers in person. In spite of all of the amazing performers they have seen, Otosaki Kanon from team Tribe Cool Crew in particular quickly catches their eyes.
Hinata herself does not seem to realize her unusual fondness for “friendship among boys” until very late into Dance Road. Manabi comments that her older sister’s character “suddenly changed.”