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Return to Genshiken: Volume 3 – Stimulation Simulation

What is Return to Genshiken?

Genshiken is an influential manga about otaku, as well as my favorite manga ever and the inspiration for this blog, but it’s been many years since I’ve read the series. I intend to re-read Genshiken with the benefit of hindsight and see how much, if at all, my thoughts on the manga have changed.

Note that, unlike my chapter reviews for the second series, Genshiken Nidaime, I’m going to be looking at this volume by volume. I’ll be using the English release of Genshiken as well, for my own convenience. Also, I will be spoiling the entirety of Genshiken, both the first series and the sequel, so be warned.

Volume 3 Summary

Love begins to claw its way into the awkward otaku world of Genshiken. Tanaka shows Ohno the wondrous world of Gundam models. Madarame finds himself alone with Kasukabe Saki in the clubroom, and the situation is too much for his poor nerd heart to handle. Keiko tries to put the moves on Kohsaka by trying to understand the otaku mind. Sasahara gets his first computer and his first private dating sim “experience”…

But trouble is on the horizon, as Saki accidentally sets a pile of old Genshiken garbage on fire. The volume ends with a lot of burnt paper and a frantic Saki.

Love, not Lust?

The “Madarame alone with Kasukabe” scene is, in my opinion, the most significant part of Volume 3. Madarame trying to use his dating sim knowledge IRL is of course quite humorous, but in hindsight, the repercussions of this moment are tremendous. It is essentially when Genshiken as a series began to transition its characters out of the cocoon of their otaku worlds. As we know from later volumes, they never stop being otaku, but this is where the chinks in Madarame’s armor begin to show.

When Madarame finally confesses to Saki in Nidaime, Madarame considers this the point when he first fell in love with her. Looking at the chapter, the symbolism is right there: he forgets his bag full of doujinshi, an item which he’d have treasured above all else. In that moment, 3D overwhelms 2D, and not even Madarame himself fully realizes it until much later in the series.

This first attraction on the part of Madarame is not based purely on the physical aspects of Saki. It wouldn’t make him nearly as nervous otherwise. In the same volume, when Ohno tries to get her to wear a cat ear-adorned frilly maid headband, the guys in the club are quick to fantasize about a cat-maid Saki slowly becoming more subservient. In the previous volume, more than one of the guys intends to use Saki as masturbation material. And when Ohno falls in the water at the beach and ends up showing her polka dot swimsuit, the guys are clearly aroused. With Madarame and Saki, it hits him deeper than where his desires typically lie.

The Impenetrable World of Otaku

Aside from the ratio of boys to girls, one of the major differences between the first Genshiken and Nidaime that really stands out to me is just how much the former tries to introduce the world of the otaku. There’s a chapter about building Gundam models, there’s another about buying a computer, and the use of “normal” folks like Keiko and Saki positions the manga as easing laymen in. At the same time, there’s something about the portrayal of otaku that renders their conversations as opaque, and it’s not just the knowledge itself that creates this sensation. As someone familiar with most of what the characters are talking about, the way they present information just sounds very exclusive, as if it were a kind of defense mechanism. When the girls of Nidaime chat about their favorite pairings, the space they create through conversation somehow feels more accessible.

Turning Points

While this volume features what is arguably the most important moment for Madarame in Genshiken (especially the first series), it’s also of great significance to Saki. Her panicking over accidentally starting that fire is the first time Saki comes across as vulnerable. While she’s usually able to handle everything, this makes it clearer that she’s invincible when it comes to social situations but not physical dangers. While her full transformation into a member of Genshiken (not just in letter but in spirit too) comes in Volume 4, this is the pivot, the point of evolution.

Keiko also begins the transition here, as she slowly begins to understand the otaku mind. This comes out full force in Nidaime when she tries to seduce Madarame, but by then it’s tempered by a slightly more forethought. This is only the beginning of the beginning, though. Her actual key moment, in my opinion, comes when she stops calling Sasahara “monkey.”

Ohno is still extremely shy at this point, and it reminds me that she almost becomes a completely different character as the series progreses. The change is to some extent gradual, but if I recally correctly, the actual moment that triggers her more drastic metamorphosis into open, motherly figure is when Ogiue is introduced as an antagonistic force of sorts. Naturally, I’m looking forward to that next volume!

Doujin Fighting Games

This volume’s Mebaetame (the Genshiken club doujinshi magazine) is a review of the various characters in a fictitious fighting game based on everyone’s favorite series, Kujibiki Unbalance. The portrayal of this game is a real throwback to the days when doujin fighters were all the rage. Nowadays, the qualities that defined doujin fighting games—long combos, air dashes, anime aesthetic, etc.—have all become features of official, professionally produced games. BlazBlue, Arcana Heart, Dengeki Bunko Fighting Climax, Aqua Pazza, and of course Melty Blood (which began as a doujin game before transitioning into something found in arcades and played in tournaments) are all of this lineage.

The Genshiken members talk about how the game is more faithful to the characters than trying to be a balanced (or good) fighting game. Personally speaking, it’s what one wants out of a doujin game: a love of the series takes priority over trying to be, to use a more recent term, “eSports now.” It reminds me of a doujin fighter I really enjoyed back in the day called Magical Chaser. It was themed around magical girls!

The English translations for these Mebaetame entries are rather awkward, and suggest someone who is unfamiliar with fighting games in general. I say this from the perspective of having many more online resources, as well as a long history interacting with fighting game enthusiasts, so I understand that it’s simply not easy trying to adapt that lingo. If you know fighting games at all, you’d probably have a fair idea as to what the characters are trying to say.

Final Random Thoughts

Two little details in this volume really date the series. The first is when the club is giving Sasahara advice on buying a new computer. The second is when Madarame talks about watching the episode of Kujibiki Unbalance he recorded.

As the other members guide Sasahaa, they talk about how 200gb is needlessly large for a hard drive—a sentiment that predictably would garner laughs today. Madarame also talks about how the US is obsessed with big hard drives, and to my American perspective I don’t quite understand what the big deal is. It’s not excessive if you use up all the space!

Later, when Madarame suggests they watch Kujibiki Unbalance again, he pulls out a VHS tape. I always wondered at what point I would see video cassettes as artifacts. I guess now’s the time…

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Return to Genshiken: Volume 2 – Loose Threads

It’s time for the second installment of “Return to Genshiken,” where I re-read my favorite manga title with the benefit of hindsight. For those unfamiliar with Genshiken, it’s a series about a college otaku club and their daily lives. Originally concluding in 2006 before restarting in 2010 and finishing once again in 2016. A lot has changed about the world of the otaku, so I figured it’d be worth seeing how the series looks with a decade’s worth of hindsight.

Note that, unlike my chapter reviews for the second series, Genshiken Nidaime, I’m going to be looking at this volume by volume. I’ll be using the English release of Genshiken as well, for my own convenience. Also, I will be spoiling the entirety of Genshiken, both the old and the recent manga, so be warned.

Volume 2 Summary

This volume introduces a variety of new side characters: Kuchiki the bizarre prospective club member, Kitagawa the strict student committee vice president, and Sasahara’s “gal” sister, Keiko. During this time, Genshiken gains a new member just as it loses one: Saki finally joins (reluctantly), while the club president retires and names Madarame his successor. As for Madarame, he sprains his wrist at Comic Festival for the first time, leading to a true test of his otakudom.

Those Who Left…

It’s interesting to see which supporting characters vanish from the face of the manga after Volume 2.

The first club president plays a big role here as the driving force behind Saki joining. After this point, however, he never appears again. It really feels like something was supposed to come about from him and his legacy, especially given his mysterious senior thesis—a project implied to have something to do with Genshiken itself. There also isn’t another character even remotely like him from this point forward, and his Kuroko Tetsuya-like lack of presence provided a certain humor absent from hereon in. I’m just still surprised that he doesn’t even show up in the two finales this manga has, neither the end of the first series nor the end of Nidaime.

This volume also introduces (and promptly gets rid of) Sawazaki. If you don’t remember him, you’re probably not alone; I even have to constantly look up his name. He’s the other guy who tries to join the club with Kuchiki before Kohsaka inadvertently saps his will to live by kicking his ass in fighting games as Saki shows her affections for her man (as a way to make Sawazaki and Kuchiki feel worse). One has to wonder why Kio decided to bring back Kuchiki eventually but write off Sawazaki, but I suspect it has to do with the fact that Kuchiki is just a stranger person and a more hardcore otaku. Genshiken isn’t exactly a club for the casual fan. While Sasahara is “normal” in a certain sense, it was more like he was in a larval stage and has now metamorphosed into a dork butterfly. In other words, he had it in him all along, and all it took was exposure to actual doujinshi to turn him. In contrast, Sawazaki feels like he just has less potential.

…And Those Who Stayed

In contrast to the first president and Sawazaki, a number of characters end up sticking around for much longer.

Haraguchi is an edge case, as he more or less disappears after this volume but ends up coming back later to give Sasahara advice on making their first doujinshi. When he does show up here, it reinforces what I thought of Haraguchi relative to Kuchiki from the previous volume’s re-read: Kuchiki is a creep, but Haraguchi is a creeper.

Speaking of Kuchiki, we won’t see him again for a while, but he’ll become fairly prominent in Volume 6 and on, as well as ever-present after Volume 10 and the start of Nidaime. At this point, he doesn’t come across as exceedingly bizarre. Either this is because his personality wasn’t well-defined at the time he was created, or because he froze up in a tense moment as he has so many other times moving forward.

Kitagawa, I’ll always remember as being the favorite character of an online friend who passed away a few years back (rest in peace, Cortana). That somber note aside, she kind of reminds me of Ogiue, and it’s kind of a shame that the two never interacted. When she later appears at the first graduation chapter, it’s notable to me that, by not showing her for a while and then bringing her back with a subtle personality difference, it really feels like she grew and changed as a human being. This might just be one of Kio’s greatest strengths as a creator.

And then there’s the biggest one of all: Keiko. In Volume 2, we first see her as the rude younger sister who actually just refers to her brother as “monkey.” While it’s clear that she’s the same character with the same base personality traits in Volume 2 compared to Volume 21, reading her introduction again made me realize just how much she changes over the course of the manga, from an immature high schooler to a mature (enough) adult.

By the time shes in Nidaime, Keiko is a perceptive woman who, while maybe not having the best head on her shoulders, is still capable of being pragmatic and clever. When we first meet her here, however, she’s asking for money from Sasahara because her boyfriend basically abandoned her. Rather than the one in control of her relationships, she’s the one being manipulated. Instead of using her femininity to attract entice, she uses it essentially to pander (we’ll be seeing more of this in the next volume!). It makes me wonder if the reason Keiko distrusts Hato so much in Nidaime is because she sees a bit of her old self in him.

All About Saki

There are a lot of indicators as to Saki’s relationship with the rest of Genshiken at this point. When she discusses Kohsaka having sex with her doggy-style so that he can presumably watch anime at the same time, the other members decide to use that mental image as masturbation fodder. Here, when they all still only kind of know her, she’s still just as much a “hot girl” as she is an antagonistic force and an erstwhile club member. It’s like they still don’t yet consider her a friend, which only makes sense given how much she tries to mess with Genshiken.

When it comes to the actual story of how she joins Genshiken, I wonder how okay it really is from a contemporary perspective. Essentially, the first president blackmails her into joining because he (somehow) knows that she’s been using the club room as a “private space” for her and Kohsaka. While Saki’s suspicion of hidden cameras is never corroborated, it leaves the question of whether or not this development would fly in today’s more socially conscious environment. I don’t think this damages the friendship that forms, but it does put an odd perspective on her character relative to the club.

In general, the biggest impression I get from Saki in Volume 2 is how she’s still so inexperienced when it comes to handling otaku. While she’s still characteristically sharp (her ability to spot plastic surgery might just relate to her being able to recognize Hato as a man), she hasn’t yet mastered the mind of the otaku and how to work both with it and around it. Like Keiko, there’s plenty of development awaiting her in the future.

Translation Errors

As noted above, I’ve been using the English volumes because my Japanese ones have been hard to access and because it’s just quicker for me. I’m wondering if this is a mistake, because when reading this one I noticed some issues with the translation when comparing it to my memory. For example, when Ohno is explaining that Tanaka sewed so much support in her Kuradoberi Jam outfit that she didn’t need to wear a bra, the English version has the girls call him “creepy.” If I recall correctly, however, they’re actually saying that he’s terrifying(ly skilled). Keep in mind that the translation is like 90% fine, but there are just some moments that indicate a lack of close familiarity with not just otaku culture but also the otaku mindset. Granted, this was translated many years ago at this point, and there were just fewer resources back then.

Mebaetame and the Pre-Evolution of Kio Shimoku’s Ar

Volume 2 is the premiere of Mebaetame, the Genshiken circle doujinshi, which is also the debut of Kujibiki Unbalance art. The reported art evolution comparisons as the fictional manga goes on as explored by Kohsaka are interesting, if only for the fact that it’s 2003-ish Kio Shimoku trying to draw extreme stylistic changes. It’s similar to what he’d eventually go through as an artist. You can also see elements of his move between cutesier and more realistic styles.

Final Random Thoughts

Ohno’s cosplay gets me thinking. Back when this volume first came out, Guilty Gear was a big thing. Now, over a decade later, Guilty Gear is again at the forefront of video game fandom. It just makes me wonder if we went from collectively knowing Kuradoberi Jam, to forgetting who she is, to remembering her once more.

Also, in the image of Saki above, Kio uses a small amount of screentone to hint at cleavage. I’m not pointing this out to be a pervert, but to call back to a later statement of his that he had to essentially earn the ability to do nudity. This might be considered the start of it all.

Ah, time.

 

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Valentine’s Day “Dead Eyes Extravaganza”

In honor of Valentine’s Day, that romantic holiday transformed in Japan into a way for girls to express their feelings for guys, I present an image mosaic of one of my favorite character traits: dead or empty eyes.

deadeyes-mosaicCreated using Mosaic Maker

Dead eyes, that is to say empty eyes without luster, are usually associated with characters who have been mind-controlled. However, I’m more fascinated by them when the characters who have them are in full control of themselves. Rather than being a sign of a loss of will, they’re often symbolic of something else. They can be intensity, trauma, otherworldly perspective/experience, or even a swirling madness. Just think about how all many of the characters in the image above have notably different personalities!

Do you have a favorite character in the image above? Is there a dead eyes character you’re a fan of? Let me know!

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Return to Genshiken: Volume 1 – The Old Guard

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Welcome to the very first “Return to Genshiken,” a new series of posts where I revisit the very first Genshiken manga series. For those unfamiliar with Genshiken, it’s a series about a college otaku club and their daily lives. Originally concluding in 2006 before restarting in 2010 and finishing once again in 2016. A lot has changed about the world of the otaku, so I figured it’d be worth seeing how the series looks with a decade’s worth of hindsight.

Note that, unlike my chapter reviews for the second series, Genshiken Nidaime, I’m going to be looking at this volume by volume. I’ll be using the English release of Genshiken as well, for my own convenience. Also, I will be spoiling the entirety of Genshiken, both the old and the recent manga, so be warned.

Volume 1 Summary

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Sasahara Kanji is starting as a freshman at Shiiou University, a college in the Tokyo area. He wants to join an otaku club, and after some false starts winds up in a club called the Society for the Study of Modern Visual Culture, or “Genshiken.” While he believes himself to be nowhere near as hardcore as the other club members, he discovers that he fits in well with the laid back atmosphere.  As he learns the ropes about the otaku life, he’s also joined by other new members, including cosplayer Ohno Kanako, the usually handsome supernerd Kousaka Makoto, and Kousaka’s non-otaku girlfriend, Kasukabe Saki.

Back in Time

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I must say, reading the first volume of Genshiken really is like going through a time warp. Not only is the visual style of the manga starkly different compared to how it ends up by Volume 21, but the aesthetic of the characters the Genshiken members themselves are obsessed with is a trip down memory lane. During this period, Genshiken makes references to series like To Heart and The King of Fighters, and the world of the otaku just seems…smaller somehow.

In one chapter, Tanaka is examining a garage kit of a cute girl model, and he remarks that female characters’ faces are getting rounder and cuter as of late. Keep in mind that this was back in 2002, before the K-On!‘s and the Bakemonogatari‘s of the world came along, the time of series like Star Ocean EX. Character designs like Lina Inverse from Slayers and Deedlit from Record of Lodoss War were still holding strong.

It’s also notable that the character profiles included between chapters bother to list each person’s “favorite fighting game character.” Fighting games still exist today, but it should be noted that they began to die out around 2003 before being revived in 2009 with the launch of Street Fighter IV. I think we’re catching the tail end of the fighting game craze.

Perhaps the most major difference between Genshiken and Nidaime is that the latter mainly focused on fairly contemporary references in order to emphasize that its values were more current. In contrast, the original Genshiken, by starting at a point where years and years of otaku history preceded it, draws from the previous decades in order to establish its characters and their preferences.

Memories Refreshed

There are a lot of things that happen in Volume 1 that I pretty much forgot, and a lot of things that, having recently finished Nidaime, stand out as likely reference points for the second series.

I did not remember that Sasahara joins Genshiken because Kohsaka scares him from the Manga Society. Given how close they become later on, it’s almost surprising to go back and see just how intimidating Kohsaka appears to Sasahara. It makes sense: Sasahara is a meek fellow, and he’s suddenly confronted with this idea that guys like him might populate the Manga Society. And just in general, most of the main cast of awkward nerds—Sasahara, Tanaka, Madarame, Kugayama—get really uncomfortable when it comes to regular-looking guys.

Going forward to Nidaime, it frames how Yajima feels upon entering the club all those years later. While Sasahara felt threatened by Kohsaka alone as a kind of living contradiction, Yajima sees herself as being practically surrounded by Kohsakas. Ohno is attractive. Ogiue is very attractive. Yoshitake’s surprisingly fashionable. Hato is Hato.

While I thought Madarame’s lamentations over all the sex talk in Chapter 125 was more of a general callback to how the club used to be, I find that it’s actually specifically in reference to the guys overhearing conversations from others about how much sex they have that can be found in Volume 1. If you just read Volumes 1 and 21 back-to-back, it is a stark contrast that the characters would go from freezing up and sweating nervously when some fellow talks about doing three girls in one day, to Sasahara and Tanaka both mentioning how they wish they had more sex with their girlfriends. Similarly, the way Madarame freezes when he sees Kohsaka and Saki kiss for the first time is possibly the long setup to the fact that he’s too passive to even get something started with Sue even after they start going out.

Another moment i had forgotten the exact details for was the very first Kujibiki Unbalance discussion we ever see. First, I had no idea that Kujibiki Unbalance is supposed to be a shounen manga, given its makeup. Second, the characters talk about the fact that the school in Kujibiki Unbalance is supposed to be a mix of various real schools—a self-aware nod to how Shiiou University is itself an amalgam of real schools.

Saki the “Time Bomb”

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In this volume, the manga refers to Saki as a “time bomb” whose effects influence Genshiken in unforeseen ways. Looking back, this statement is more profound than I think even the author Kio could’ve imagined. She fundamentally changes a great deal about the club over time. It’s because of her that the members of Genshiken grow and evolve themselves as people, beyond the otaku stereotypes to varying degrees.

Outside of the possible exception of Sasahara, whose sister Keiko is very much the “gyaru” type, Saki is Genshiken’s biggest exposure to the “normal” world before the members start graduating. Because of her, Ohno goes from shy wallflower to mother figure for younger otaku. Madarame changes himself as he discovers his feelings for her. Ogiue learns to open up as well. She is a force for change in the club, and one might even argue that she’s the real protagonist of Genshiken, at least initially.

I also noticed that the presence of the real world outside of Saki is much more prevalent in Volume 1. The aforementioned bro talk situations happen. Saki herself gets hit on by guys looking for a quick fling. As the series continues, that realm fades from view until Saki is the primary example of it. And even then, Saki herself changes as she gets acclimated to being friends with otaku.

Comic Festival

I recall that, prior to my discovering Genshiken, my main exposure to the idea of “Comic Market” came from two anime: Comic Party and Nurse-Witch Komugi-chan. Suffice it to say, that’s kind of a strange combination. While Comic Party had a couple of Kuchiki-esque creepers, it was mostly portrayed as a fairly tame event. With Genshiken, however, seeing the final barrier of Sasahara’s shame come undone gives the full doujinshi-purchasing experience. In a way, doujin events are where you confront your true self, and see what values lie within. What are your real priorities? What fundamentally tickles your fancy? It’s a time for reflection.

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Before Kuchiki, There Was Haraguchi

I think there’s a common feeling throughout Genshiken fandom that Kuchiki is an unnecessary element. Who wants to read about a guy with the absolute worst social skills, whose behavior is grating and downright pathetic? However, in Volume 1 Kuchiki has yet to appear. Instead, within early Genshiken exists the character of Haraguchi, and in many ways he provides an interesting contrast with Kuchiki.

Haraguchi is portrayed as an opportunist who likes to lord it over others. A member of all three otaku circles (Anime Society, Manga Society, Genshiken), it’s implied that each group barely tolerates him. Haraguchi works by making connections and ingratiating himself to those who “matter,” and he’s viewed as a leech who mooches off the success and passion of others. Haraguchi is that guy who gives orders without ever actually contributing, and the result is that no one in the universe likes him.

A similar dislike of Kuchiki is certainly prevalent, but for as much as can be said about Kuchiki’s flaws, being a manipulative person isn’t one of them. He’s obnoxious, lacks self control, has a tendency to give TMI, and perpetually irritating, but he’s also absolutely honest and upfront about who he is and what he enjoys. I think it’s ultimately why he’s allowed to stay with the club. Kuchiki is a man of innumerable faults, but he’s not a scumlord like Haraguchi.

Art in Progress

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As I looked for the best image to include in this post, something hit me: the panel layout in Volume 1 is much less refined and elegant than what it would become. While there’s a nice sense of variation in terms of panel size, the composition isn’t as strong, the borders are rather rigid, and the pages don’t flow nearly as well. I’ve looked ahead a couple of volumes and it mostly seems the same, so I wonder if there’s a point at which it truly changes.

Actually, when looking just at the differences between chapters in Volume 1, the art style already begins moving towards the more familiar Genshiken style. As the series begins, the character designs are more similar to Kio’s previous works, and by the end of the volume they’re definitely getting softer. The difference between Chapter 1 and Chapter 2 is significant enough that I suspect they were drawn months apart. That’s what happened with Nidaime, where the pilot chapter still had the feel of Jigopuri.

Final Aside

I thought the portrayal of underage drinking was a Nidaime thing. Apparently not! It happens wit Kasukabe and Kohsaka right from the start.

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America the Moeful: Genshiken Volume 21

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Chapter 127 may have been the end of Genshiken’s serialization, but that doesn’t mean it’s all over yet! As fine patrons of the Society for Modern Visual Culture know, the volume releases always come with extras. So, I’m going to give my thoughts on some highlights.

First and foremost, it is absolutely necessary to talk about the cover, which features Sue in a somewhat bizarre cosplay of Ritsuko from Kujibiki Unbalance. It certainly doesn’t look like any prior incarnation of Ritsuko from Genshiken, and that’s because…it isn’t.

spottedflower-sexycosplay

The cosplay actually comes from the thinly veiled alternate universe Kio Shimoku manga Spotted Flower. For those unfamiliar with it. The premise basically asks, what if a person very similar to Madarame married someone just like Kasukabe? In it, the unnamed wife, pregnant and sexually frustrated, winds up seducing get husband in that very same outfit.

In other words, Sue (who has become Madarame’s girlfriend) is cosplaying a cosplay worn by a parallel universe Madarame’s wife as a way to get some nerd boott, who is in turn a reference to Kasukabe and her Ritsuko cosplay from Genshiken, which is the defining moment when Madarame fell in love with her.

Talk about peak meta. And we haven’t even opened the book!

Inside, you have the standard comic strips between chapters. I won’t go through all of them, but I do want to draw attention to my favorites. genshiken21-ninjaslayer2First is one where Yoshitake mythbusts every idea that Sue has about ninjas. In reaction, Sue makes a Ninja Slayer reference: “Kill all ninjas! Yeeart! Guwah!”

Here we have Sue, an American otaku, referencing a book series that was supposedly created by Americans who love Japanese culture, which was then translated into Japanese, buy is actually a satirical look by Japanese creators at the American obsession with ninjas. Did I say we hit peak meta before? I might have been mistaken.

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The second is after Madarame and Sue start dating. Hato gives some helpful advice, just in case: “Sue lives next to me, and the walls are thin, so keep that in mind.”

This leads to the final post-chapter content, which caps off Genshiken Nidaime. In the last series, it revolved around a discussion of whether Kasukabe is moe. This time, it has to do with how pathetic Madarame and Kuchiki are in different ways.

At his graduation after-party, Kuchiki brags that he has taken Madarame’s first kiss. Ohno exclaims that surely Sue’s more than made up for that deficit, but this is far from the truth. Not a kiss (let alone anything else) has happened, and the members of Genshiken contemplate just how much of a wimp Madarame is. Kuchiki gets upset over the fact that he never got a girlfriend in college, and has the gall to ask Ohno once again if he can touch her boob, just once. Ohno, unfortunately, is very drunk (as tends to be the case with her at parties), and she actually agrees, going so far as to comply when he asks if she can remove her bra partway underneath her sweater. However, Kuchiki makes his attempt, Yajima gut checks Kuchiki. Sadly for Yajima, all this does is awaken a new fetish in Kuchiki. Everyone is happy that he’s graduating and going away.

I kind of wish that the last moments of Genshiken didn’t have Kuchiki at the center, but it isn’t all bad. In particular, I like the notion that Madarame still hasn’t quite gotten over his awkwardness with girls. In fact, the very idea of him having a girlfriend has probably short-circuited his brain. And if anything, it makes me very aware of just how dramatically Sasahara and Ogiue’s relationship escalated once it hit the threshold. The two of them literally starting having sex with each other once they got on the same page, which is probably not the image we ever had of otaku.

The last things I want to talk about are the extras I received with Volume 21.

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I ordered from the Japanese comic store Comic Zin, and with it came a 4-page bonus illustration featuring artists associated with the Genshiken universe. It has Koume Keito (artist of the Kujibiki Unbalance manga), Yagumo Kengou (artist of the Kujibiki Unbalance light novel), as well as Kio himself. It also features a message from Tamaru Hiroshi, creator of Rabuyan, a manga about a Madarame-esque loser.

First editions of Volume 21 also get a version of the “Thank You Messages” compilation that came with the final chapter in Monthly Afternoon. It also features brand new color art for its cover, featuring most of the now-gigantic cast of Genshiken. I love the drawing of Ogiue on here; she honestly looks so cool.

So that’s that. I’ll see you (hopefully) in January, as I start my look back on the first Genshiken. But before that, I still have another post to make, about Kasukabe Saki. Keep an eye out!

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The Limits of the Fujoshi Files

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In 2008, I had an idea: archive every fujoshi character I could possibly find. At the time, it seemed like an achievable task. Fujoshi characters were around but fairly rare, especially compared to the “girl otaku” that tended to share the same interests as the guys. However, a lot can change in eight years, and over this period the position of the “fujoshi character” has changed tremendously, leading me to think about all of the limitations imposed on the Fujoshi Files as they currently exist.

First, while the 2007-2009 period featured a kind of “fujoshi boom” as the term came into prominence, if you look at the fujoshi character today she’s basically been kneaded into anime and manga as a whole. The archetype doesn’t exist in its own universe, and she’ll appear in works more disconnected from the realm of hardcore fandoms. I mean, a yuri school detective comedy? A weird political satire light novel?

Where once the Izumi Konata-style female otaku was taken as the standard, now the de facto girl fan in anime and manga is the fujoshi. They’re basically everywhere, and it can be hard to keep up with all of them, which is why I’ve slowed down the pace a bit. Perhaps this means I should be doing more for the Fujoshi Files than ever before (and believe me, I’m still on the look-out), but I also want to make sure that the blog remains diverse thematically, as I think that’s one of its strengths. In other words, I don’t have the time to tackle every single work with fujoshi characters, but I wish I did.

Of course, if you find any fujoshi not currently on the list, by all means please leave a comment.

fudanshikoukouseikatsu-keyimage

Second, the number of fudanshi (rotten boy) characters steadily increases. Back when Genshiken Nidaime first came out, I was faced with a decision: do I include Hato in the Fujoshi Files? Ultimately, my decision was to not give him an entry because he identifies as male, and the list is for female characters. Then I found out about the series Fudanshism. A brand new series, Fudanshi Koukou Seikatsufeatured prominently in the summer season. Now the fudanshi is in the position the fujoshi once was, and to ignore them seems something of an issue.

Third, these Fujoshi File profiles I’ve written are very basic, and tend to be in-universe, but there are are often interesting aspects to these characters, like how they’re utilized in terms of narrative, elements of their designs, etc. Not including these factors leaves the Fujoshi Files without any real analytical teeth, though I’m not sure if that should change.

So I’m left with a few questions.

Should the Fujoshi Files branch off into a “Fudanshi Files?”

Should the Fujoshi Files go from being a series of small blog posts here to an entire Wikia?

Has the Fujoshi Files served its purpose already, in that it’s already over 150 characters strong?

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Big Ogiue, Final Stage: Genshiken II, Chapter 127

Commencing the 14,567th “This Month’s Genshiken Was Great” Discussion.

Chapter Summary

It’s time for Kuchiki’s graduation, and the members of Genshiken have gathered to celebrate . They haven’t really put much effort into wishing Kuchiki well, but their half-hearted gifts (flowers and a signboard with messages from everyone) move him to tears. Kuchiki, meanwhile, reminisces about his time in Genshiken, and how one of his greatest memories is seeing the Madarame Harem crumble in person, only to find out the news that Madarame and Sue are dating, which ruins his schadenfreude.

With graduation comes time for a new president, and Ogiue chooses Yajima. In spite of her misgivings, Yajima is eventually convinced to do it, especially thanks to support from Hato. The chapter transitions to a new spring, and Hato visits the club room, eager to spend time with his friends.

And So It Goes…

If anything stands out in this chapter, it’s the artwork. While I’ve felt the quality of Kio’s drawings have been fantastic these past few chapters, I can really feel that this finale wasn’t rushed at least in terms of the TLC put into it. Ogiue is beautiful. Hato is beautiful. Everyone is beautiful

The conclusion to Nidaime pretty much came about Chapter 126, so this one feels much more like an epilogue. In many ways, it mirrors the original ending of Genshiken: a graduation, a transition in power in the club, some delightful nerd moments, and then a positive look into the future for the club. In fact, both series all but conclude after the establishment of a romantic relationship, with a lot of “falling action” following.

The big difference in feeling is that one involves the graduation of Sasahara and Kasukabe, two very vital characters central to the Genshiken narrative, while the other involves… Kuchiki. While he’s been with the club for a very long time, even the characters themselves treat him as an afterthought. They’ll treat him with just as much respect as they think he deserves. As Kuchiki points out, they didn’t even bother dressing up for his graduation (and if you recall, their graduation trip was more of a “Kuchiki is going away” celebration excursion).

Kuchiki is Human Too

The big exception here is Hato, who in general tries to look good when he crossdresses, but I wonder if he has a soft spot for Kuchiki. It wouldn’t be anything remotely resembling romance, and might lean more towards pity than anything else, but he seems to treat Kuchiki with noticeably more restraint and tact than the others. This might just be in virtue of the fact that he’s also a guy, so even if Kuchiki pictures Hato as part of his potential “harem,” it doesn’t faze him as much. Kuchiki also inadvertently instigated a number of Madarame/Hato moments.

It might also be that Hato can kick his ass.

In a way, it feels weird that the series would end on Kuchiki’s big day. I think that many readers of the series wouldn’t even mind if he fell off a cliff. At the same time, he hardly ever got any real attention, and had nary a sense of character growth. Now, at the finish line, we see a rare moment of Kuchiki being genuinely happy. I’d like to think that, somewhere deep down, he realizes what a terrible person he can be, and the fact that the other members put up with him is something he can appreciate. Granted, that’s only one heartfelt moment in an otherwise incredibly awkward display of how not to behave as a human being. It doesn’t help him that he loudly declares in the middle of campus that he spent the prior day masturbating furiously to his favorite doujinshi.

I do find it kind of interesting that, when Kuchiki mentions that his desire is to create his own harem, he doesn’t exactly include Yajima and Yoshitake in it. It makes me wonder if there’s something to the two of them that puts him off.

Passing of the Torch

With graduation comes a new president, and this transition always provides plenty of delightful reflection and insight in terms of the characters. Seeing prior presidents fidget and their newly chosen successors doubt themselves is the kind of tradition I can support. After all, it once provided one of the best moments in Genshiken: Sasahara and Ogiue’s racy near-kiss. No such thing happens this time, but there’s still plenty to chew on.

In the past, new presidents were chosen because they either seemed likely to carry on the spirit of the club or because the alternative (Kuchiki) would have been far worse. Ogiue picking Yajima makes sense in this regard, because she always appears to be the most stable and grounded member out of all the new generation. What’s more, Yajima’s careful personality and the way she doubts herself often is indeed quite Genshiken-like, and the way that she feels caught in the transition between generations of otaku makes her able to understand a range of potential newbies. I also do love the fact that Yoshitake agrees that she would probably abuse any power given to her, and the role of advisor/confidant is about as perfect as it gets for a lover of history.

I also only just realized after reading this final chapter that Ogiue likely abolished the doujinshi honeypot trap tradition, where current members spy on new recruits from outside and then bust in on them while they’re in the middle of revealing their tastes. Being a victim of it herself and also not being a fan of embarrassment, I could see why the secrets behind this would not be passed on to the next generation, especially one with Yoshitake in it.

Speaking of movements between generations, it’s notable that Madarame does not show up in spite of his prominence in Nidaime. Granted, none of the former members show up at all, so I imagine that the goal was to focus on the current iteration of Genshiken for the final chapter.

Thanks from other Manga Artists

Accompanying this final chapter in Monthly Afternoon are a series of congratulatory images from 30 other Afternoon manga artists, including Yoshikazu Yasuhiko (Gundam: The Origin), Samura Hiroaki (Blade of the Immortal), and Suenobu Keiko (Limit). Fun for all, and I really hope it’s included with the packaged volume release. Samura clearly drew Madarame with the wife from Spotted Flower, so I think we know where his ship sails.

Final Thoughts (This is actually as long as a regular Chapter Review!)

I discovered Genshiken many years ago, back in my college days. I can’t quite remember if I discovered the manga or the anime first anymore, but I remembered how real it all felt: these characters reflected to a scary degree the thoughts, behaviors, and mannerisms of me and my fellow nerds. It was an enjoyable series to be sure, but then a study abroad semester to Japan would elevate the series to the apex of my love for anime and manga, for it was there that I discovered Ogiue. With her came a number of realizations, such as my extreme(ly strange) fondness for “dead eyes” characters, but also an overwhelmingly powerful emotional connection with her fear that her passion would hurt others. By the time I came back to the United States, Genshiken was actually gearing up for its first ending, but it and Ogiue would remain with me.

Ogiue Maniax originally began well after the Genshiken manga had ended. At the time, I felt I had so much more to say about Genshiken and Ogiue, so I kept writing about it. I followed the second TV series. I gave testimony as to how I became such a fan of the series. I started the Fujoshi Files. Gradually, this site became much more than a Genshiken blog, though it wasn’t quite ever entirely one in the first place. I was content with the overall direction of Ogiue Maniax, and my own fandom.

Then Chapter 56 happened.

One of my long held desires was to see how Genshiken would be like under the leadership of President Ogiue, and this one-shot (at the time, no one knew it would become the precursor to a new series) provided just that. Two things stick out in my memory about Chapter 56. First would be the art style. Back then, Kio had been coming off of doing Jigopuri: The Princess of the Hell, and it showed in how much softer and cuter the character designs were. Second would be the mostly female cast. If you look at the original end of the first Genshiken, it clearly shows a very different kind of club with male members, a natural extension of what Genshiken was like back then. This was a retcon of sorts, but it set the stage for a more thorough exploration of the changing landscape of otakudom. Where once the female fan was seen as this rare gem in terms of characters, Chapter 56 went above and beyond to show that things were different, and the presence of female characters as otaku and fujoshi would not only be normalized but dominant.

When the announcement that Genshiken would be getting a full-on sequel hit, I was ecstatic. It provided me with a feeling of renewal, but also an opportunity. Chapter reviewing Genshiken on Ogiue Maniax hadn’t been possible, and I thought it wouldn’t ever be. But now, if ever there was a series for me to analyze every month, it had to be this one.

At the time, I could look back and go, “Wow, it’s been seven years since I discovered Genshiken, isn’t that wild?” Seven has now become 12. I began as a college student who saw himself in Genshiken, and now I’m in a dramatically different place, with a well-respected (if obscure) anime blog, a degree from studying manga that required me to move to another continent, and many good friends whom I met not only through my love of anime and manga, but also because the fact that Ogiue confronted and conquered her own fears encouraged me to do the same. Both I and the world around me have changed, and the fact that Genshiken has also shifted to reflect this made it a constant source of fascination for me.

It was truly unusual for this series to spend so much time exploring the Madarame harem, but I think that it became the focus inadvertently because it overlapped so much with Hato’s own development. You had these two tracks of characterization, one from the old guard and one from the new, and the result was that it pushed the classic otaku question of 2-D vs. 3-D into new and unfamiliar territory. In the end, any of the pairings would have worked for me, and while relationship drama was probably the last thing people expected out Genshiken, the series defied even those newly created expectations at every turn.

While it would have been all right for Genshiken Nidaime to have been more of the same as its predecessor, I’m happy to see how different it became. It confronted a new world of and around otaku, it tied up one of the vital loose ends with Madarame’s unrequited love, and explored topics concerning gender, sexuality, and self-image that went even beyond Ogiue’s plight in the first series.

What’s Next?

Now that Genshiken is over, that means the end of Ogiue Maniax’s monthly chapter reviews. That doesn’t mean it’s quite the end, though, as the supplements included in the collected volumes usually provide more insight and a true epilogue. And who knows? Maybe there’ll be more someday. I wonder where I’ll be in life at that point.

I’ve also been considering going back and reviewing the first series.

And please create that series I want where Angela is the main character.

So with that, I bid you adieu. OG(iue) 4 life.

Kio saying thanks and lamenting that he never got to do another beach chapter.

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