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sailormercury-coverSailor Moon was one of the seminal shows of my anime fandom. I recall the joy of waking up every weekday morning to see what would happen next just as much as the embarrassment of being a Sailor Moon fan (I was a dumb kid for sure). However, as formative as that series was in certain respects, one thing I had only heard about but never directly experienced was the Sailor Moon manga. Now, 20 years later, thanks to Kodansha Comics’ re-translation of not only Pretty Guardian Sailor Moon but also its predecessor Codename Sailor V, all of that’s changed.

I don’t think Sailor Moon needs much of an introduction at this point, but just to cover my bases: A young girl named Tsukino Usagi discovers that she has magic powers that lets her transform into a costumed fighter named Sailor Moon. Along with her allies whom she gathers over time, the Sailor Guardians, she fights against numerous forces threatening the Earth. What makes Sailor Moon so memorable is its ever-continuing story of twists and turns, the powerful image of strong female characters fighting without needing to be rescued by a man (though occasionally a man will show up to give some moral support), and just the way it sparks imagination in audiences young and old.

The manga is no exception, though if there’s anything that stands out immediately about the Sailor Moon manga, it’s the relatively brevity compared to its animated counterpart. Instead of a 200-episode TV series, we have instead a 12-volume manga (15 if you count Sailor V and some additional side stories). While this typically implies a great deal of filler or extra stories to pad out entire seasons, and this is indeed true of Sailor Moon, it’s rarely to the degree seen here. Kenshiro in Fist of the North Star takes 26 episodes to reach his first major adversary, Shin, but only one volume of manga to do the same. The Sailor Guardians fight Jadeite in the anime for 13 episodes; he lasts only 3 chapters in the manga. Sailor Moon cuts through villains and entire story lines like a hot knife through butter, and covers most of the major arcs that the anime does in a fraction of the time.

This is a significant change of pace compared to the anime, which is based around a kind of episodic peek into the world of Sailor Moon. Each week, there would be a monster to fight and a problem to solve, and while the overall story would gradually move along, it’s sort of like visiting some friends. The feel of the show is slower, and I don’t mean that necessarily in a bad way. With the manga, however, everything moves forward at such a fast clip that I feel as if the dynamism of the characters themselves, as heroic figures, as beings with style and physicality, progress the narrative through their bodies and the actions they take with them. There’s a kind of connectivity from panel to panel that’s achieved through the statuesque shoujo designs of the characters and their fights that can’t be found to quite such a degree in the anime, even when taking into account the elaborate transformation sequences.

By the time Sailor Moon finishes, I get the sense that Usagi herself has changed tremendously. However, I’m not entirely sure if her maturation is entirely convincing. There are moments when Sailor Moon seems to have learned important lessons about doing what’s right/right for her, and then there are others where the manga tells you that she’s grown, or she suddenly shows a greater sense of compassion and responsibility, but it seems to have come from out of nowhere. In a way, having the story move as quickly as the manga does can make some events feel a little too rushed, and Usagi’s character development might just be one of those aspects. On the other hand, some of the weirder aspects of Sailor Moon (Chibi-Usa’s entire story) come and go just as quickly.

As a final note, I’d like to just give an aside about my favorite character, Sailor Mercury. It’s funny to think about what drew me (and a lot of other boys growing up on Sailor Moon) to the character. To put it simply, I was a nerd, and she was a nerd too, one who prized knowledge and study and interest in books and science. These days, that’s the norm for a lot of characters, and specific attention is being given to encouraging more girls to get into math, science, and the highest of higher education. Nerd girls are so expected of the world that they’ve entered the realm of stereotype. That’s how much things have changed since I first saw Sailor Moon, but the admirable qualities of its characters, whether in manga or anime, are what help make it timeless.

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kiminakare2-nobuko   I recently appeared on the Veef Show podcast, where I talked briefly about chapter reviewing Kimi xxxru Koto Nakare. However, I realized, upon trying to say the name of the series, that I didn’t know how I’m supposed to pronounce “xxxru.” It’s not like XXXHolic or Hunter x Hunter where the x is silent, because it’s supposed to be a variable verb. “You shall not ______.” In any case, for future reference, I’ll probably refer to it as its official shortened name, Kimi Nakare, when speaking from now on.

Summary

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Chapter 2 of Kimi xxxru Koto Nakare picks up right where Chapter 1 left off. Nobuko is a young celebrity comedian, known more for her ability to get a laugh than her homely looks. Shuuto, a childhood friend and classmate, is a popular idol who’s in love with Nobuko. Upon hearing Shuuto’s confession, Nobuko tells him that it can’t happen and runs away, clearly flustered. As Nobuko goes home early we’re introduced to Nobuko’s mother, who’s a famous actress known for her beauty.

On a variety show where both she and Shuuto appear, Shuuto talks about how Nobuko is cute, but because Nobuko is not considered beautiful the host reacts incredulously. Nobuko takes advantage of this and takes on the role of the “ugly pursuer,” who comically keeps chasing after Shuuto, which becomes a popular gag over multiple shows. Nobuko claims that it’s because Shuuto has to remember the fact that he’s an idol (and idols can’t date), but it’s clearly a way for her to ignore her feelings. Eventually, though, Shuuto finally gets to be alone with her, and asks Nobuko about how she feels, and her face says it all.

Nobuko’s View of Herself

One of the most pleasant surprises of this chapter happens right at the beginning, with the story being primarily told from Nobuko’s side. The first chapter concentrated on Shuuto, and I had to wonder if this trend would continue, but it’s clear now that they’re basically sharing top billing in this manga.

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Nobuko’s mother, and the fact that Nobuko herself has not inherited her looks, appears to be one of the main reasons that Nobuko lacks such confidence in her appearance. While her mother adores her and is shown dressing a young Nobuko up in a flashback, Nobuko is being judged not only by the fact that she looks more like her father but through comparison with her mom. Alone, Nobuko remarks that “Something must be wrong with Shuuto’s eyes,” which is basically a self-deprecating statement.

In this respect, I can’t help but feel for her. Having grown up in the world of entertainment where looks can be paramount, Nobuko is made hyper aware of how she does not fit traditional images of beauty. What should have been an unrequited love due to the contrast between her appearance and handsome Shuuto’s is made reality by Shuuto and it scares her. The sense I get from Nobuko is that she feels that this isn’t supposed to be happening, that it’s a fantasy that she wasn’t meant to be a part of.

Comedy as a Tool

The fact that Nobuko purposely takes on the role of the unattractive admirer, a kind of Steve Urkel to Shuuto’s Laura Winslow, showcases not only Nobuko’s talent for comedy, but also how Nobuko is using humor to lighten the load that her heart has inflicted upon her. At home, Nobuko says to herself, “If I can’t pull away to deal with the situation, then I’ll push,” meaning that by trivializing the idea of a relationship between the two of them, by turning it into fodder for comedy, she can cope with it. This gives great insight into how Nobuko thinks, and how flexible and adaptive she can be.The way that Shuuto once again cuts through Nobuko’s defenses, then, is why I think the last scene of this chapter is so good. Nobuko, who’s dressed like a monkey to continue her on-screen obsession with Shuuto, ends up alone with him in her dressing room. Shuuto uses the classic “kabe don” of shoujo manga fame, and Nobuko’s facade cracks, as shown previously. The fact that all of this happens while Nobuko’s still wearing that monkey suit makes the scene somehow more poignant. The monkey suit is supposed to make the idea of a romance between them nonsense, but Shuuto isn’t having any of that.

Serious and Silly Artwork

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I love how so many of the moments in this manga can be both serious and silly at the same time. Okamichachi’s style captures this seeming contradiction very well, because she has a shoujo (and I think BL?)-influenced style that still leaves plenty of room for exaggerated expressions and a willingness to not have her characters look perfect. While this is less the case for Shuuto, who’s supposed to be naturally handsome, seeing him with a relatively serious expression as Nobuko makes kissy faces only enhances the sense that the two are entering this weird space where their feelings for each other are enhanced yet also diminished by being on-screen. Shuuto’s reactions show that the situations portrayed in front of the camera, even if they are weird, still land in the realm of what he really wants, and he can’t help but blush himself as a result.Last ThoughtsRight now, the cast is fairly small, and there aren’t any romances happening between the few side characters that exist. I have to wonder if this will change, as that’s pretty much the fate of all romance manga.

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Mito Ikumi, Food Wars! Character

Within the first few minutes of the Food Wars!:  Shokugeki no Soma anime, viewers are made well aware of the extent of its fanservice. If the flavor of peanut butter squid being visually likened to being violated by a large squid wasn’t enough, as the episode progresses characters basically have reactions that are downright orgasmic. It’s the kind of reaction that can really turn people away, but I also am aware of how the seeming need to fully animate a manga can lead to a rather different (and more gratuitous) experience, even when faithfulness to the source material is considered important. This is what I believe happened with another series, Mysterious Girlfriend X, and so when I got the chance to read the manga for Food Wars, I went in curious about two things: the depiction of competition in the Yakitate!! Japan “food battle” sense, and how the fanservice compares to the anime.

Food Wars! portrays both the act of master chefs locked in fierce cooking combat and the sexually charged tasting reactions with equal care and attention to detail. The manga is certainly not a cleaner alternative to the anime, but there are a couple of points I noticed about it. First, the manga’s imagery is a noticeably different experience due to the lack of need to fully animate all of the more gratuitous scenes. Second, Food Wars! actually takes a kind of multi-level approach to its fanservice.

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Shinkon Gattai Godannar!!

I think it’s fair to judge a series by the most extreme examples of fanservice found in it, and so this isn’t really a defense of Food Wars! as sticking it to the prudes or anything. However, when it comes to anime and manga, they tend to maintain to a fairly consistent level of the kind of fanservice they want to use. Love Hina and Chobits go for mildly risque bath scenes, Aim for the Top! goes for the subdued-by-today’s-standards jiggle and “creative” camera angles, and Godannar!! and Ikkitousen are all about in-your-face shots and revealing clothing (or lack thereof). Food Wars!, in contrast to all of those, encompasses virtually the entire spectrum.

At the far end, you have the scenes described above: images that, in and out of context, look like something you’d find in a naughty magazine. However, there are also plenty of food reaction moments that are more about showing off the girls’ (and in some cases even guys’) bodies in the buff, without that added layer of sexual innuendo. There are images of girls spilling out of their outfits, but there are also relatively more conservative examples. So, while you have a character like Mito Ikumi (pictured at the beginning of this post), who wears bikinis and is based around a rather blatant “meat” theme, you also have characters like Tadakoro Megumi and Mizuhara Fuyumi, who are less voluptuous but are still involved in their own fanservice scenes relative to their designs. In those instances, the manga will decide to show for one panel the way that Megumi’s pants hug against her hips, or that Fuyumi has subtle but noticeable curves.

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Tadokoro Megumi

In terms of how men are portrayed (their clothes burst off as they salivate over a five-star meal just as much as the girls do), but I’d actually like an opinion from any readers interested in men as to whether Food Wars! hits any of their buttons in the right way. I get the feeling Takumi Aldini is popular, but I haven’t looked into it extensively.

Given all this talk of gratuitous imagery, I find it all the more interesting that the more I read Food Wars!, the less I think of it as a fanservice series, even though it can be so elaborate and perverted in its character depictions. It certainly is still that sort of manga and anime, but the cooking really takes center stage, and in certain ways the ever-present fanservice is actually subordinate to the food. There’s just something about the intensity and the amount of attention that goes into presenting the culinary masterpieces of the manga’s characters that shines the spotlight on their cooking above all else.

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Name: Yuzu (ユズ)
Alias: N/A
Relationship Status: N/A
Origin: Happy Fujoshi: Fujoshi no After 5

Information:
Yuzu is a fujoshi who’s into the “Randy x Gerdt” pairing from an unnamed anime. She arranges a karaoke party for her fellow fujoshi friends after a doujin event. She also likes to crossplay as Gerdt.

Fujoshi Level:
Yuzu gets moe over even songs without lyrics if they remind her of Randy x Gerdt.

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Just in time for the release of Captain America: Civil War, I decided to write a short article about the similarities between My Hero Academia and Captain America.

I think there might be some additional parallels with the new movie as well, but I’m going to have to wait until I actually see the thing before I make that decision.

Comic artist Rob Liefeld has carried two reputations throughout his career, both of which can be considered two sides of the same coin. To many, Liefeld is the 90s comics artist, with his creation of various “extreme” characters, a move away from simple, minimalist superhero designs to ones loaded with details and accoutrements. At the same time, he has also become the poster child for “bad comic art,” mostly because those same qualities that exemplify both 90s comics and Liefeld himself are viewed as a move away from technical skill, visual clarity, and overall good character design. In looking at Liefeld’s work, though, I recently began to ask myself if he might be considered what is known in Japanese as heta-uma, literally “bad-good.”

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Last year at Otakon, I debuted a new panel called “Great Ugly Manga.” The purpose of the panel was to show how bad artwork in manga wasn’t necessarily a demerit against that manga, but that “ugliness” could be utilized in interesting ways. Ugly manga can play with expectations, carry a kind of strong emotional energy, and even change the meaning of moments compared to if they were rendered beautifully. This idea is not new, and in fact at the panel we mentioned the essential philosophy behind heta-uma. The idea, originating from Japanese artist King Terry, is that art has a technical aspect and a kind of “soulful” aspect, and that while being good in both categories is the ideal, it’s better to be bad at the technique and good at the soul, rather than good at technique at the expense of expressiveness. In fact, it was while we were gathering images for Great Ugly Manga that my co-panelist I briefly discussed the idea that Rob Liefeld might be heta-uma.

Both the notion of bad-good and good art in general are highly subjective, and the line between technical expertise and expert expressiveness is actually pretty nebulous. When I talk about Liefeld’s art being “bad,” I’m more using the idea of bad that has been presented online across various forums and articles, that his tendency to use the same poses, to ignore feet, and that his overall frenetic line work is less impressive than artists with similar yet more highly refined artists such as Jim Lee.

What I find is that Rob Liefeld’s work can’t be called bad-good in the common sense of the term, nor can it be called any of the others: it’s not good-bad, good-good, or even bad-bad. I would argue that bad-good is perhaps the closest category to fit Liefeld, but doesn’t quite fully describe his art.

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There are two characteristics of heta-uma that I think is vitally important under normal circumstances. First is the idea that the ugliness of the art has to be eminently obvious. When looking at an image from an ugly manga, there is an immediate realization that something is “wrong.” Second is the idea that this ugliness in term gives power to the page, that it creates a strong sense of energy or awkwardness that draws the reader in. Take the page above from the manga 81 Diver, which is one of the series we mentioned in “Great Ugly Manga,” where the mishmash of large word balloons, bizarrely drawn characters, and unusual situation make the scene stand out. What’s also notable about its artists, Shibata Yokusaru, is that he falls outside of the category of artists who can draw beautifully but choose not to. He has a lack of technique, but more importantly he doesn’t let that flaw get in the way of his attempts to draw complex scenes. By challenging himself, the ugliness of his art stands out even more, which is his charm.

I think that Rob Liefeld’s artwork is definitely expressive, and that its energy comes out of the particular manner in which Liefeld draws. What keeps me from calling it clearly heta-uma, however, is that often times his art seemingly masks its own ugliness. At first glance, there’s often nothing especially strange about Liefeld’s drawings, and it’s only after you start to examine them in detail that they tend to “fall apart.” While a more discerning eye can catch these aspects from the beginning, I believe that for the average reader it is not so obvious. Liefeld’s artwork is not “clearly ugly.”

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And yet, once one gets past that point, and after getting over just how awkward his drawings can be, I find that Liefeld is not so different from Shibata, in the sense that he does a lot of things around his particular style that lend it a significant impact. While in some cases Liefeld is known for “playing it safe,” using the same poses repeatedly for example, he also pushes himself to draw elaborate situations designed for readers to in fact examine and re-examine them, such as large fight scenes. It’s in drawings such as those that the heta-uma of his work really shows itself, as while one can criticize the lack of realism in his characters’ musculature, or the fact that perspective doesn’t work that way, ultimately the intensity of the fight shines through. While a more skilled artist could perhaps do a better job and even keep a similar level of intensity, what I find interesting about Liefeld is that the very flaws in his work contribute to the image’s impression of strength and fury.

Overall, I think Rob Liefeld is loosely in the category of bad-good, but that he doesn’t quite fit the mold created by other heta-uma artists. However, because the term doesn’t have a rigid definition of qualifying characteristics, and because the idea of good and bad art are so personal, calling him bad-good less a solid criticism or praise of his works and more trying to get into the realm of what Liefeld art is. What I find in the end is that his style creates flimsy yet powerful illusions, and that this is definitely a place where heta-uma can thrive.

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Genshiken 123 marks a new era in the manga, away from the trials and tribulations of Madarame and his sudden popularity with girls and back to the club room and otaku life. However, far from a reset, things are looking to change more than ever.

Chapter Summary

A summary of this chapter’s events won’t quite do it justice, but I still want to lay out the basic framework for this month before delving into the little details:

As the members gather in the club room, Hato decides to show everyone the manuscript for his new manga, which is BL. Uncharacteristically, Yoshitake seems to be especially flustered by how “vulgar” it is, when Kuchiki makes an unwelcome appearance. Supposedly showing up just to pick up some belongings, Ogiue realizes that Kuchiki is actually just pilfering erotic doujinshi from the club room and even gets him to admit that he’d been stealing them for a while. Accusing Kuchiki of stealing the very doujinshi that Sasahara was looking for at his own graduation, it turns out that Madarame had just forgotten to return it. Kuchiki, upon seeing the doujinshi, begs to have it for a quick “bathroom break,” which causes Ogiue to call him vulgar. Sasahara (who is texting with Ogiue) allows Kuchiki to borrow it before graduating, much to Ogiue’s consternation.

Doujinshi, an Essential

While I most certainly enjoyed and was intrigued by the Madarame Harem arc of Genshiken, this chapter made me aware of a significant shift that happened during the past couple of years. The manga has spent so much time on real relationships that it’s almost easy to forget that this is a story not just about otaku but about many of the awkward aspects of life that are embraced by otaku as well. One of these is a very close connection with doujinshi, particularly of the pornographic kind, and this chapter is a reminder that the characters of Genshiken past and present have such a personal connection to doujinshi that they will think about it even as they graduate. We saw the otaku mind when confronted with romance and sexual identity, and now we’re once again privy to the otaku in their “natural habitat.”

But what a natural habitat it is! The otaku clubroom possesses a kind of public/private duality because the bond is founded in mutual interests, and one of those shared passions is for sexy 2D characters. At times, we like to talk about otaku as possessing a kind of strange nobility, whether that’s through fanciful Densha Otoko-esque stories or through the advent of stylish otaku and fujoshi, but still that 2D complex remains. It’s not something to be ashamed about, but it’s there, and it’s only appropriate that it have an incredibly baudy yet stylish cover.

It’s also amusing that it’s basically going to be Ogiue’s job to return a doujinshi about a large-breasted heroine (from Kujibiki Unbalance, of course) to her boyfriend. Sasahara and Ogiue’s relationship is built on a foundation of full otaku romance, and part of that is both a general awareness and acceptance of each others’ preferences.

Ogiue the Sexual Veteran

Speaking of Ogiue and Sasahara, the main gag of this chapter hinges on the use of the term “vulgar,” or more specifically in Japanese, namanamashii (生々しい), which means “raw.” Yoshitake, who is normally all about encouraging perversion, is suddenly taken aback by Hato’s BL manga. Ogiue, in contrast, seems unfazed. I believe that contrast is a reference to the difference in Ogiue and Yoshitake’s sexual experience. Ogiue is in a physical relationship, and as Ohno once put it, her having sex with Sasahara has made her own BL doujinshi that much more realistic. Yoshitake experiences sex only through media, and the fact that she points out being the same age as Ogiue implies a kind of jealousy.

While we don’t see the contents of Hato’s manga, I think that its “rawness” is basically a product of Hato reconciling his feelings, learning not to fight who he is, and actually being a man. Even if Hato hasn’t had a homosexual relationship, he can perhaps get closer to reality by being a guy.

New School Year!

As much as the manga seems to be returning to club antics, however, there is the definite sense that time continues to move forward, and the events of the past are still creating ripples. Hato and Yajima now have a kind of cute awkwardness towards each other, remembering their conversation at Nikkou where Yajima basically admitted her feelings and Hato mentioned having thought of being with her. Hato’s face lights up when he sees Madarame, but it’s turned into a kind of very close friendship.

And then there’s the moment I’ve been anticipating for a long time: Ogiue is finally in her senior year of college! She wants to get serialized in a manga magazine, which Yoshitake remarks is Ogiue’s version of “finding employment.” Ohno makes a joke that she’s in her “fourth year” as well, but Ogiue calls her out on it. I think this is actually Ohno’s sixth or seventh year, but I’ve lost track at this point. What would a Genshiken without even Ogiue or Ohno in its core cast be like?! For that matter, a new school year means the potential for new members!

That’s what Kio is enticing the readers with for the next chapter preview, which says, “That girl is showing up!” The most likely candidate (and I’m 99% confident about it) is Risa, Yoshitake’s younger sister. As a reminder, Risa is tall, likes to dress like a guy, and is a complete shotacon who also has a mix of respect and potential attraction towards Hato. Risa is welcome, but I’d really like to see some fresh blood as well. I understand that the cast of Genshiken is so large at this point, however, that it might not be practical.

Ogiue Expression Extravaganza

One of my traditions with these Genshiken chapter reviews is to end off with a picture of Ogiue. However, with Chapter 123, there’s probably more choice Ogiue content here than in the last 50 or so chapters combined. There are silly faces, awkward moments with Sue, and even some choice expressions of anger and disdain, which is how we Ogiue fans got to originally know her all those years ago. I’m not afraid to admit that seeing her scowl again invigorates me, and in a way I have to wonder if Kuchiki’s presence in Genshiken serves a useful purpose in this respect.

Seriously, I can’t choose just one!

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I’ve been on an “90s anime theme” kick recently, watching various live concert performances and animated intros/outros on YouTube. When you look through them, there’s a recurring tendency in shows of the time to have ending animations highlight the token female character as she existed in the 90s. What stands out to me in particular is that a lot of these girls are designed to be fairly pretty but not excessively beautiful, talented but not too talented.

Frequently, the 90s girl is the protagonist’s love interest, especially in series with heavily male-dominated casts, and in shounen works also works as either an everyman or expositional character to get the reader up to speed on the rules of the story. She’s the ideal support for him and his passionate pursuit of whatever goal or motivation he possesses, and it’s this sideline cheerleader that has more recently fallen by the wayside in favor of a new breed of heroine, who still might not be in the spotlight but possesses some sort of “other” talent. The example that immediately comes to mind is Akagi Haruko from Slam Dunk, who knows a bit about basketball and is the target of affection for the hero, in contrast to Aida Riko and Momoi Satsuki from Kuroko’s Basketball, who have support “powers” for their teams and whose roles as possible love interests are not as prominent (perhaps influenced by the greater fujoshi influence of Kuroko). None of them are stars of their stories, but I think there’s a clear difference between then and now.

If the main character’s love interest is supposed to be an ideal, I have to wonder why they’re so frequently designed to not be quite so ideal in the first place. This could be chalked up to “good characterization” in some cases, and a “boring” or “plain” female character to a potential viewer outside of Japan might be seen as a “yamato nadeshiko” type perfect woman in Japanese culture (e.g. Shinguji Sakura from Sakura Wars). However, I can’t help thinking that there’s something else, like a desire to promote the plain girl as the one young readers of shounen should be aiming for. Pining for the hottest girl around might somehow have been viewed as impractical or even wrongheaded, and that the childhood friend, the girl next door, would be the far better choice. Was anime and manga trying to teach its audience what kind of love would be the more realistic choice, or is it just that having these girls be fairly plain is simply about pushing the heroes further to the forefront?

 

In the past, I’ve written about “OEL manga,” English-language comics inspired by the manga style, in an attempt to find out why OEL manga often end up looking not quite like what typically comes out of Japan. I’ve brought up ideas such as screentone usage and how it often looks like artists try to draw “anime” comics instead of “manga” comics. It’s not a bad feature, and there are plenty of good comics that are inspired by manga without looking like it, but it’s just fun to try and figure out why things don’t look “right,” so to speak.

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Recently, however, I’ve come across a manga called Shoujo Fight by Nihonbashi Yoko, and even though it’s drawn by a Japanese person for a Japanese audience, to me it looks very similar to OEL manga. It’s to the extent that, if you had given me a page from Shoujo Fight translated and told me someone from Kansas drew it, I might very well have believed you.

Shoujo Fight is a volleyball manga published in the magazine Evening (sister to Genshiken‘s Monthly Afternoon and the popular Weekly Morning). Its story follows a girl named Ooishi Neri, who holds back a fiery passion for volleyball due to a traumatic event in her past. Beginning from 2012 it ran for 12 volumes, and it’s overall just a solid sports manga with a large variety of interesting female characters with equally diverse body types.

Now, I want to emphasize that, when I compare it to OEL manga that I do not mean that as an insult, and in fact I really enjoy Shoujo Fight‘s art style. Nevertheless, it does leave me wondering… why does Shoujo Fight look to me like OEL manga? I think there are a number of interrelated reasons.

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First, the creator, Nihonbashi Yoko, has a very design-oriented and graphic style that’s conducive to posters, symbols, and logos. When looking at her official blog, there’s a lot of work along those lines, and I think she’s very good at it.

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Second, Shoujo Fight is clearly drawn digitally, and I think (whether it’s accurate or not) that I associate “western” renditions of anime and manga with the rise of tablets and digital comics in general. The line work is very smooth and sleek, completely devoid of pen or pencil textures, and I find that a lot of Deviantart artists tend to work similarly.

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Third, the way Nihonbashi draws eyes often times feels closer to what I’d find in a North American or European comic. In fact, to me the way that the heroine Neri’s eyes are drawn reminds me strongly of the girls from the Italian comic (turned French animation) W.I.T.C.H. or even those of a Disney heroine. I think this becomes especially noticeable when a character has her eyes closed part-way, because the particular shape of the eyes and eyelids are not so common in manga.

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With Shoujo Fight and its art style is compared to the typical manga, it’s fascinating to me how the idea of “manga” continues to be challenged from both within its primary industry and from the outside. And if you want to see more of her work, follow the creator of Shoujo Fight on Twitter.

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yuranomon

Parasyte, the story of a boy whose right hand is taken over by an alien parasite, was a popular 90s manga in Japan. Recently it’s gotten an anime adaptation with an updated look, so naturally Parasyte has been receiving more attention. What I hadn’t expected to see, however, was a Parasyte one-shot spinoff by shoujo manga legend Hagio Moto.

Hagio Moto is famous for being the mother of BL manga as the creator of Heart of Thomas. She’s continued to create manga since her debut in the 1970s, including science fiction, such as Star Red and A, A’, and even comics that act as allegories to the dangers of nuclear power. She generally stays within the realms of shoujo and josei, so the fact that she’s brought her talents to Monthly Afternoon (where Parasyte was originally published) is something special.

Yura no Mon o follows Yura, the young daughter of Tamura Reiko, who is the parasite disguised as the original hero Izumi Shin’ichi’s school teacher. Reiko decides to have a human baby with a fellow parasite, and her relationship with her daughter throughout the original series is portrayed as disturbing yet potentially redemptive. Yura is adopted by another family by the time of Hagio’s one-shot, but she every so often here’s a voice that tells her one thing: kill. Thinking it’s the voice of her mother, she goes through life with that whisper in the back of her head.

I’ll be honest, I’m not a fan of Parasyte, but that’s because it succumbs to many 90s manga tropes (particularly its portrayal of women). With Yura no Mon o, Hagio Moto brings the sensibility and soft style that made her one of shoujo manga’s most famous artists. If you have the chance, and you have even a passing familiarity with Parasyte, it’s worth checking out.

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