Category Archives: manga

Potential Changes for the Future: Ogiue Maniax Status Update for June 2016

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I’m back from Japan, and I had a blast! Look forward to a number of posts this coming month about my trip.

If you’re part of my Patreon (or even not!), feel free to message me or leave comments below. You can ask me anything about my Japan experience this time around. By the way, if you’re wondering what the biggest trend in Japan is right now, it’s Osomatsu-san.

Speaking of, here are this month’s Patreon sponsors:

General:

Johnny Trovato

Ko Ransom

Alex

Diogo Prado

Sasahara Keiko fans:

Kristopher Hostead

Yoshitake Rika fans:

Elliot Page

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

There is something important I need to discuss, which is that some changes in my life (nothing tragic) are happening that might require me to reduce the amount of posting that I do to Ogiue Maniax. I know that sounds kind of strange after declaring that I would up my post rate not so long ago, but that’s just kind of how it is.

The result is that, while I’m definitely going to try, I might not be able to keep up my twice/thrice-weekly posting schedule. I know that part of the appeal of Ogiue Maniax is its consistency and its fairly high output rate, so if any of my patrons want to adjust their pledges accordingly, I totally understand.

I’m hopeful that I can keep up my current rate or something similar, though. I mean, I’ve done it before!

As for this past month’s post highlights:

As always, there’s the requisite Genshiken chapter review. This one got longer than I initially expected, but that’s just because it turns out that there’s a lot to talk about. One notable aspect of this chapter is how it meta-references the anime version. Strangely, there’s no new chapter of Kimi Nakare out yet.

A couple of posts this month were ones I’ve been ruminating on for a while. The first is a look at the fanservice from Food Wars!: Shokugeki no Soma, and the second is a post about how vital Twitch chat is to the Twitch streaming experience. There’s just a lot to unpack in both, and I hope I’ve done a decent job explaining my points.

There’s also this month’s Patreon-sponsored post, where I look at the BlazBlue anime. While I was passingly familiar with BlazBlue as an anime-style fighting game, one thing I didn’t realize was how many imouto characters are in it. This in some ways sets it apart from similar games, which often deal with only or two little sisters.

The last major post is the first of many inspired by my Japan trip. Check out my report and review of Kansai Comitia 48, a doujin event dedicated to original (as in not based on existing works) doujinshi,

Outside of the blog:

Over at Apartment 507 where I’m currently writing, I’ve started a new series of reviews for Japanese-language manga apps. The first is Shogakukan’s MangaOne. Remember, these are only available on the Japanese app stores. I’ve also started a Vine account because making dumb jokes using anime is what I do, and I recently appeared on a mini-episode of the Reverse Thieves’ Speakeasy Podcast to discuss the Hulu Apocalypse.

So anyway, fire away with the Japan questions! I was only there briefly, so I can’t divulge to you its darkest secrets, but I sure can try.

 

Original the Comic: Kansai Comitia 48 (Original Doujinshi Event)

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Whenever the typical English-speaking anime or manga sees the word doujinshi, a particular image comes to mind. Typically, doujinshi are associated with fan-parodies of titles both popular and niche, the realm of what-ifs that run the gamut from the silly to the sexy. However, many doujinshi are original works, and Comitia is the largest group of “original-only” doujin events in Japan. I attended Kansai Comitia 48 Osaka recently on May 15, 2016, and it was a fun learning experience. Not only could I feel the creators’ passions, but I also have come to view the importance of doujin events in a different light.

Original Doujinshi

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While I am certainly a fan of doujinshi based on existing properties, in many ways original doujinshi are more impressive because they cannot rely on drawing in the fan bases of those works. When I think about it, my first exposure to the idea of doujinshi, the anime adaptation of Comic Party, mainly focused on original works. In that TV series, the main character learns an important lesson: making doujinshi is about what you want to do, not simply what sells. Across dozens of creators, that is exactly the spirit I saw at Kansai Comitia 48.

The event site was laid out roughly according to genre, and when you look at the categories listed it becomes easy to see the variety of interests on display. There was the “Fantasy” section, which was by far the largest, but there were also things like Criticism, Travel, Shounen, Shoujo, Seinen, SF/Mecha, Animals, BL, and so on. The first doujinshi I picked up was a record of the author’s trip to Russia, while my favorite had to be a cute romance about a girl with a bentou box for a head. The handkerchief normally used to wrap a bentou box became the ribbon that accentuated her girlish charm. One table was selling guides to girls’ school uniforms throughout Japan, and the circle that was responsible for it consisted of a mix of both men and women.

What About the 18+ Stuff?

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While doujinshi often brings to my pornographic works, the Adult section at Kansai Comitia 48 was rather small. This is not that unusual, because most doujinshi made are in fact not sexual. However, even there the space for doujinshi as a place to explore one’s passions is visible, and one might even argue that it’s where such sentiments are most evident. Many of the 18+ circles were focused on otoko no ko, or boys who look like girls, and one was even solely about handsome bad guys kissing young girls. There was one artist who drew heterosexual josei-style smut, which can be rather uncommon given the sheer amount of BL that exists.

I picked up one adult title at the event, but not necessarily for the reason you might expect. The artist who drew it was actually Kakimoto Kenjirou, a published manga artist in the 1990s whose series, Futarigurashi, ran in Young Jump. It appeared that he was out of the manga game for quite a while, but here he was at Kansai Comitia drawing what he wanted, and the doujinshi I bought was actually a sequel to Futarigurashi. Here was a space where even someone with manga industry experience could continue the stories they wanted to tell, and essentially make “amateur” sequels to their own “professional” works.

A Haven of Lost Drawing Styles

One aspect of Kakimoto’s doujinshi is that, while it didn’t look quite the same as it did in the 90s, he still retained a very 90s style of manga drawing. What’s more, he wasn’t alone. Throughout Kansai Comitia 48, I saw doujinshi with characters that looked like they came from bygone eras of manga and Japanese pop culture. One artist created a giant robot themed after Nagano Prefecture, Naganoizer, and was clearly inspired by 80s anime artists such as Mikimoto Haruhiko (Macross, Gunbuster, Kabaneri of the Iron Fortress). Another artist’s style was closer to 70s shoujo legends such as Hagio Moto and Takemiya Keiko.

In the actual professional manga industry, failing to change one’s styles with the times comes at a risk. While popular creators such as Miuchi Suzue (Glass Mask) or the aforementioned Hagio and Takemiya still draw in the same style as they did in the 1970s, many have clearly made shifts over time that correspond with trends in manga as a whole. For better or worse, events like Comitia are where those older styles can still exist, away from the pressures of having to pick up on what’s popular. While some are able to sell doujinshi at a profit, that is the exception. Most doujin artists make doujinshi purely as passion projects.

Comparing with Artist Alleys in America

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I’ve been to quite a few Artist Alleys in American anime conventions, and while you can get a good variety of styles, for the most part I tend to see many similarities in how artists approach works there. Perhaps it has to do with the fact that anime fandom has a rather high turnover rate where many grow out of it as they get older. This is not to say that American anime con artists lack variety, or that they all draw in an “anime” style, but the result is you don’t really get those 80s/90s-style holdouts.

A better comparison would be with the artist alleys at places like New York Comic Con, because you’ll often see artists who are inspired by past generations maintain those styles. For example, you’ll often see artists who love Jack Kirby and aim to maintain his style. They will pepper their drawings with Kirby dots, dynamic poses, and other signature characteristics of the King’s drawings. Similarly, at Kansai Comitia 48, you had artists who still believed in those older styles. Whether it’s because they refuse to adapt or can’t, the result is a window into a different world that is not so much experimental as Indie comics in the US tend to be, but are basically different shades of mainstream from older generations.

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For Their Sake: Genshiken II, Chapter 124

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This chapter of Genshiken calls back to one of the earliest moments in Nidaime. Is the story getting back on track, or was it never derailed in the first place?

Synopsis

Under the pretense of celebrating both Risa’s acceptance to Shiiou University and surviving an eventful year, Yoshitake gets together with Yajima and Hato for a night of drinking and laughter. In actuality, now that Madarame’s harem has been resolved, Yoshitake aims to bring Yajima and Hato closer together.

However, Yoshitake’s plan to position Yajima as a hero of sorts backfires. While Yoshitake recalls the time Yajima prevented her from lifting up Hato’s skirt, Yajima (under the influence of alcohol) confesses that she was on the verge of doing the same, and that she saw Hato’s goods.

Wanting to prevent any more awkwardness, Yajima tells the others to go home, especially because Hato’s short skirt is a recipe for disaster. Hato offers a suggestion, but it turns out to be arguably worse: Earlier in the day, Risa had given Hato a pair of short pants to wear in order to feed her fantasies, which causes elder sister Rika to worry about Risa’s future.

Meta-Genshiken

There are a number of things I’d like to elaborate on in regards to this chapter, but the first is a nod and wink by author Kio Shimoku to the animated Genshiken Nidaime, aka Genshiken Second Season aka Genshiken Second Generation.

In Chapter 124, Yoshitake, Yajima, and Hato bring up how minors aren’t allowed to drink in anime adaptations even when it happens in the original manga. Yoshitake then remarks that they will keep drinking because nothing’s stopping them from doing so. This is actually a reference to episode 2 of the anime, where scenes of Yajima and Hato drinking from Chapter 58 were cut.

This isn’t the first time that the Genshiken manga has referenced the anime. The idea that Angela wants to sleep with Madarame comes from the second series, Genshiken 2. Moreover, in a particular 4-panel extra, the manga alludes to the fact that the final episode of the Nidaime anime has a bath scene that didn’t exist in the comic.

Tracks Laid Out

Chapter 124 calls back to one of the original tensions of the new Genshiken, which is the awkwardness between Hato, the club’s very first fudanshi and very first otoko no ko, and Yajima, who for a long time disliked Hato because his very presence made her feel inadequate. Things have changed significantly since then, namely because of Yajima’s gradual acceptance of Hato and the realization of her own feelings for him, but there’s this sense that perhaps this is where the narrative of Nidaime was supposed to go all along. In this sense, it reminds me of the manga Coppelion, where it ended up taking years to reach Shibuya despite the fact that it was mentioned as an early goal.

The Madarame Harem story took up a huge portion of Genshiken Nidaime, and this means it can be seen as both a major narrative of the manga thus far, and as an excessively long detour. In a way, however, both are true. The story of Nidaime is in many ways the story of Hato, and I have to wonder if Hato and Yajima could have developed to the extent it has without all of those tribulations, and without Hato’s affections for Madarame prompting realization in Yajima herself?

The answer is likely neither a full yes or no, mainly because Kio tends to write stories without planning how they’ll turn out. He’s more of a “let the characters move the story forward” kind of author. If you’re more of a beliver that the “author is dead” this doesn’t matter too much, but it can’t be ignored that where the story seems to be heading now is built partly upon the foundation of the Madarame Harem arc, and I think it’ll continue to exert an influence even as the manga goes back to being a little more like how it started.

Death to Misunderstandings

Yajima’s confessions, and the way they finally bring to an end some of the unspoken tensions between the characters, kind of reminds me of the beginning of Kimi ni Todoke. In that series, many potential misunderstandings between characters common to shoujo romance series are squashed before they can fester and it made that particular work refreshing. While Genshiken is nowhere close to this, given that this particular resolution took a few years, it has a similar feeling of release.

Actually, when it comes to Genshiken, I find the resolution of romance tends to be very cathartic. Sasahara and Ogiue consummate their relationship after an intense sharing of secrets. Saki’s rejection of Madarame features a wave of emotion hitting the both of them. Hato’s comment that Madarame will be the first and last man he ever loves comes with a tinge of melancholy that still somehow feels like a huge weight has been lifted.

Yajima’s Secret to Success

While Yajima is discussing why a relationship with Hato isn’t popular at the moment (his feelings lie elsewhere), she mentions that she knows the way to instantly get Hato’s attention. The hint is that she saw it in an instant upon arriving at Hato’s place, which leads me to believe that it has to do with not just comics, but 4-panel gag manga.

If you look at the rough comics pages Hato has left around, they’re all arranged in two sets of 4-panel vertical columns, similar to works like Azumanga Daioh and Hidamari Sketch. Yajima, who turns out to possess a hidden talent for comedic manga, and who basically won the “duel” last time they both drew their own works, could leverage that to her advantage. The reason why she refuses to act on it is likely because of the swirl of emotions and relationships that have entangled the Society for the Study of Modern Visual Culture. Yajima prefers to make things simpler, not more complicated.

Hato and Risa and Clothing

Hato at one point remarks that having his penis seen while dressed as a girl is somehow more embarrassing than being seen stark naked as a boy (which also happened). While a “cute Hato” moment if ever there was one, this particular reveal speaks to a side of Hato’s psychology that has been somewhat unexplored even if it makes total sense.

Hato-as-girl is still very much a performance even if that performance is ingrained in his being. He has taken great efforts to look like a girl without drawing too much attention, has practiced raising the pitch of his voice to sound more feminine, and is just overall very convincing as a woman. This means that perhaps the penis has different meanings when he’s presenting as a man vs. a woman. As a guy, he was embarrassed because he was showing his privates, but as a girl it’s like his secret was revealed.

This is where Risa’s minor obsession with Hato becomes interesting. While most of the fascination with Hato has come from his appearance as a woman, Risa is different because her interest in Hato comes from him being a man, or rather a man with a boyish appearance. Madarame and Kuchiki see Hato’s female appearance in relation to the crossdressing eroge and doujinshi they’ve experienced, and Risa perhaps draws a similar connection between her own interests and super smooth Hato in short shorts. Like Yoshitake, I too am concerned with the potentially dangerous path Risa might be heading down, but I also am intrigued by a new love triangle of Yajima, Hato, and Risa. The question remaining is, can Risa’s view of Hato be considered romantic in the first place?

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Mascot Analysis: Japanese Moving Company Aggregate “Hikkoshi More”

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NOTE: I want to be upfront about what follows in this post. I was recently contacted by a promotional company, asking if I could mention a couple of their websites on this blog for pay. I agreed to do so, knowing that this is part of the SEO game.

While I normally wouldn’t accept an offer to just promote something, what caught my attention was that I was requested to make posts specifically because of their purposeful usage of manga and anime characters in marketing. I’m always fascinated by this topic, especially when it comes to Japan where cute fictional cartoon spokespeople are much more ubiquitous across all age groups. Because the types of mascots used can say a lot about a company and who they’re targeting, I decided it would be worth writing about.

I also want to emphasize that I have not used the service below, Hikkoshi More, so I can neither endorse it or advise people away from it.

I hope this makes everything clear.

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In the English-speaking world we have sites like Orbitz and Hotels.com that aggregate various offers and prices and present them in one place, allowing users to choose from hundreds of offers. Hikkoshi More serves a similar function in Japan, except it’s for moving rather than traveling. Hikkoshi More is meant to help users to find the right moving company that suits their needs and finances.

I came to understand the purpose of Hikkoshi More because of the comic on their website, which explains what they’re all about. Sadly, it does not involve shipping the shipping companies, and is instead a parody of the Legend of Momotarou using the site’s mascots, Momoa (the girl) and Kuronishiki (the black cat).

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In this story, “Kuronekotarou” is born from a peach and takes it upon himself to defeat the oni of Onigashima Island, but is beaten to the punch by the real Momotarou. The oni are forced off their island, and need to find a new home. Kuronekotarou introduces them (and eventually other character parodies from the Legend of Momotarou) to Hikkoshi More, and they all find homes.

The comic is actually pretty effective for giving an overview of what they’re about, and in my opinion was easier to get through than their actual website.

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My personal favorite part of this manga is how Momotarou is kind of an asshole. In this panel, it mentions that he not only beat them up, he also took their money and credit cards. The fact that he carries a giant Nippon Ichi flag on his back (not shown above) adds to his ridiculousness. Also, because Momotarou is instantly recognizable to any Japanese person, it becomes an easy target for parody, similar to something like Snow White or Johnny Appleseed for an American.

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When looking at Momoa and Kuronishiki, it’s clear they’re mascots meant for regular adults. They have neither the high moe factor that would draw in more hardcore otaku, nor are they as generically cute as something like Hello Kitty. They’re drawn very simply, and Momoa’s design positions her as anywhere between 18 and 40, giving a sense of youth and vibrancy to the company without making her too young and thus unsuited for representing a site dedicated to a very adult concern of moving. Not that kids don’t care (they arguably care more than anyone), but they’re not responsible for the details of it.

I think people are more used to seeing the Dejikos and Hello Kitties of Japan than what Momoa and Kuronishiki are, which is simply cute and attuned to a more specific, yet not hardcore, demographic. The result is that Momoa and Kuronishiki are charming yet safe, and are perhaps a little more immune to the Erin Esurance syndrome. In that particular case, it was clear that Esurance wanted to use its mascot’s sex appeal to its advantage, only for the whole thing to explode in their face. Momoa might be closer to Flo from Progressive Insurance, if anything, except through that Japanese lens of kawaii.

[Apartment 507] Japanese Manga App Review: MangaOne

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The best thing about digital manga is that it’s such a space saver, and it allows you to get manga straight from Japan at a reasonable cost with little hassle. I’ve started up an article series on Apartment 507 where I review various Japanese-language manga apps, and my first is a look at Shogakukan’s MangaOne.

I personally like the app, but that might be because it actually features a sports manga about Kabaddi!

Finishing the Sailor Moon Manga

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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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Her Perspective: Kimi xxxru Koto Nakare, Chapter 2

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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. Hayato, a childhood friend and classmate, is a popular idol who’s in love with Nobuko. Upon hearing Hayato’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 Hayato appear, Hayato 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 Hayato, which becomes a popular gag over multiple shows. Nobuko claims that it’s because Hayato 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, Hayato 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 Hayato, 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 Hayato’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 Hayato’s is made reality by Hayato 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 Hayato’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 Hayato 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 Hayato, ends up alone with him in her dressing room. Hayato 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 Hayto 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 Hayato, 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. Hayato’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 Thoughts

Right 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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The Many Levels of Fanservice in Food Wars!: Shokugeki no Soma

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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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The Fujoshi Files 155: Yuzu

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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.

[Apartment 507] My Hero Academia and the Spirit of Captain America

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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.