Category Archives: manga

Boyz II Men: Genshiken II, Chapter 125

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In this month’s chapter of Genshiken Nidaime, the old boys are back.

Chapter Summary

Madarame, Tanaka, and Kugayama meet up for drinks. While they start talking about how things have changed now that Madarame’s finally not going back to the old university, the conversation eventually shifts to girls. As Madarame realizes how the boys of Genshiken have at some point started talking about girls instead of anime, he swears to bring himself back to his original mega otaku self. However, just as he successfully tempts the rest of the guys to pull out some 18+ doujinshi, Kohsaka shows up with Saki, who seems unfazed by Madarame’s attempts to creep her out. Not long after, they reveal to the guys that Saki is pregnant.

This causes Madarame to flip and exclaim that he should’ve just picked someone and ended his virginity, but then Saki reveals that it was all a lie orchestrated by her and Kohsaka to get Madarame to confront his true feelings. She then tells Madarame straight up that he should go out with Sue on account of his reasoning for rejecting her being total BS, and even gets Sasahara to call Ogiue and get Sue on the phone. Saki says to Madarame that, if Sue’s not interested anymore then it’s fine, but otherwise…

Straight Shooter Saki

Ah, Kasukabe Saki. While Keiko kind of fulfills her role as the no-nonsense outsider, she doesn’t quite capture Kasukabe’s ability to just cut straight to the point. Quite a few of the readers on this blog have commented that Madarame’s reasoning for rejecting Sue was incredibly weak, and I find it interesting that Kio Shimoku would purposely set that up as a sticking point. While I do still think that Madarame’s reasoning wasn’t solely to run away from the situation, it was pretty flimsy on the surface.

It’s also revealed that Saki set her ploy up because Kohsaka and her suspected that Madarame’s real reason for not choosing a girl was that he was still pining after he deep down inside. While I think this was pretty clear, especially given his reason for rejecting Keiko (she reminds Madarame too much of Kasukabe), this really shows just how much that’s actually the case. Somewhere in all of this is the idea that the other girls are maybe too otaku to get to the heart of the matter. Ogiue might be blunt and Yoshitake might be a schemer, but their anime and manga-oriented minds inadverently allowed the harem to flourish, and thus allowed Madarame to remain wishy-washy about the whole thing. Saki really is amazing.

As for the fake pregnancy, before Saki revealed the truth my immediate reaction was that this basically would have marked off Spotted Flower as a possibility. Now, it’s back to being in this nebulous space of pseudo-canon/alternate universe, and it’s a very intentional move by Kio to mess with his readership. Maybe, somehow, we’re all Madarame. What this also means, based on all of the talk of girls and sex (or in some cases lack thereof), is that the thematic gap between Genshiken and Spotted Flower is ever-shrinking.

By the way, the named of the chapter is “High-Slope Flower,” which is a parody of Spotted Flower, only with a reference to Kohsaka instead of Madarame; the saka in Kohsaka means “hill.”

Kio you troll.

Sex Talk

Though it’s one of the main jokes of the chapter, it really is crazy that the boys of Genshiken have been having varying degrees of success with the ladies, not least of which is Madarame’s recent harem adventures.

It’s unclear if Rino the Cabaret girl is actually interested in Kugayama or is basically doing her job and manipulating her client for more pay (remember, Cabaret Clubs are all about talking with girls as opposed to being a sex service), but it’s very likely that the latter is a factor. Kugayama himself acknowledges this, but just the fact that he is making some kind of vague move towards fulfilling his desire for real-life women, and that he’s gone from visiting Cabaret ladies to just one in particular, is itself a kind of change or progression.

One of the more notable aspects of this chapter is that Tanaka and Sasahara reveal quite a few details about their sex lives. Tanaka mentions that he “only” gets to have sex with Ohno about once a week, while Sasahara says that his rate is about once a month, much to Madarame’s consternation. Tanaka even mentions to Kugayama about how asking for a girl’s three sizes in order to get a cosplay outfit made for her (Kugayama’s current plan for a gift to Rino) can turn into dirty talk.

References to the characters having sex is nothing new to Genshiken. Way back, Saki talked about her and Kohsaka doing it doggy-style. Ogiue started drawing more realistic penises in her doujinshi after she began her relationship with Sasahara. I think this situation might feel different because it’s the guys, the ones who are supposed to be the “losers,” doing it, and so the dissonance in Madarame is understandable. I also believe that this dissonance was a huge factor when it came to Madarame’s decision to abstain from choosing a partner. This candidness contrasts with the younger characters that comprise the main cast now as well, because they are for the most part are still very shy about this sort of thing.

It’s easy to tell that the conversations are causing Madarame’s imagination to go wild, and that too is understandable.

They Just Keep Pulling Me Back In!

If Madarame does indeed end up with Sue after all, does it matter that it happens after the harem arc concluded rather than it being a direct result of Madarame’s decision? After all, choosing a partner would have, by definition, ended the arc anyway.

This is all speculation at this point, but I do think there is a difference between having Sue the winner of a competition versus her and Madarame potentially building something up together on their own. I think the harem itself put a lot of pressure on Madarame that a simpler one-to-one relationship wouldn’t carry, even if it doesn’t work out.

As for Sue essentially being Madarame’s 2D complex ideal given flesh and how this might mean that Madarame loses the last vestiges of his realistic otaku self, there are two points to take into consideration. First, guys can have many different ideals to the point that arguably any of the other partners could be considered an “ideal,” but the way the story has portrayed them shows a lot of interesting facets to their characters. Sue still seems a bit otherworldly, but this might be the start to opening her up more. Second, Sue really is the only one at Madarame’s otaku power level.

No Ogiue Image This Month

They do mention her, though.

Sasahara: Basically, Sue’s at Ogiue’s apartment, which means I can’t visit. Do something about it, please.
Madarame: Wha? What do ya mean? Wait… You just want to have sex with her!
Sasahara: ……That’s right! What’s wrong with that?!

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The Fujoshi Files 156: Mayu

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

Information:
Mayu is an office worker and who devotes most of her time and money to her fujoshi hobbies. She is particularly into the Randy x Gerdt pairing from an unnamed anime, and is invited to a karaoke party after a doujin event.

Fujoshi Level:
Mayu has a very busy life juggling both her work and her otaku life, but keeps herself motivated by thinking about Randy x Gerdt, even at work.

Soremachi Creator Ishiguro and His Two Biggest Influences

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soremachi-8-9-14

In the June 2016 issue of Monthly Afternoon released in April (it’s confusing, I know), there’s an interview with two previous winners of the Afternoon Four Seasons Award, which is a manga competition run by the magazine. One of the winners is Ishiguro Masakazu, creator of And Yet the Town Moves (Soredemo Machi wa Mawatteiru). When talking about his influences, Ishiguro mentions a number of manga artists, but two in particular are especially important to him and his style. Those would be Otomo Katsuhiro of Akira fame, and Fujiko F. Fujio, creator of Doraemon.

akira2_0 doraemon-sticker

Although it isn’t terribly surprising that these two titans of manga would influence other manga artists, in the case of Ishiguro this is a really big deal. That’s because, if you think about what Soremachi is, how it’s drawn in terms of environment and character expressions, and how the stories range from the dramatic to the silly, from the everyday to the alien, Soremachi is pretty much an even fusion between Akira and Doraemon. There was even a story about time travel that revolves around some super delicious snack cake!

Quite a few years ago my friend, translator Ko Ransom, mentioned to me that he felt Ishiguro’s art style reminded him a lot of Akira. As it turns out, he was right on the nose with that one. When you think about it, it’s not like it’s immediately obvious given how different those two stories are, which makes me all the more impressed by his keen eye.

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The Triangle Forms: Kimi xxxru Koto Nakare, Chapter 3

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kiminakare3-natsumi

I realized that I’ve been giving the wrong name for the main guy. It’s Hayato, not Shuuto, and I somehow missed that despite it being written clearly in the very beginning of Chapter 1. Sorry about that.

I’ve since gone back and changed the previous chapter review. I hope this hasn’t impacted your enjoyment of this series or my reviews!

Also, a better translation of this title might be Thou Shalt Not xxx. It’s the same structure used in Yosano Akiko’s “Thou Shalt Not Die” power in Bungou Stray Dogs. Maybe I’ll call it that from now on, maybe not. What do you think?

Summary

In Chapter 1 we got to see the world from Hayato’s point of view, and Chapter 2 was a Nobuko’s-eye view. This time, it’s primarily from their other close friend that we’ve seen in previous chapters, Natsumi.

Chapter 3 mainly takes place in the past, when Hayato and Natsumi were classmates in elementary school. They’re putting on a play about a prince (Hayato) and multiple princesses, but Natsumi gets picked on by the other girls for being poor and not very “princess-like.” Hayato, being the naturally good guy, defends Natsumi, including being wiling to not participate in the play. Natsumi develops a crush on Hayato, and is inspired to start acting thanks to him, but learns the painful truth from day 1 that his heart belongs to Nobuko.

kiminakare3-natsumihayato

Back in the present of the main narrative, it’s revealed that this chapter takes place between Chapters 1 and 2, after Hayato first confessed to Nobuko. Natsumi quietly asks if Hayato’s feelings could possibly be love, given how young he was at the time. However, Natsumi senses her younger self telling her something important: Natsumi was only a kid when she first noticed Hayato, and she knows those emotions are genuine.

A Slowly Expanding Cast

I wondered last month to what extent Kimi Nakare would begin to fill in its side characters, and the process has already begun. What I perhaps didn’t expect (though in hindsight maybe I should have) is that there would be a love triangle. I guess it’s maybe technically not a triangle depending on how you define it (Hayato only has eyes for Nobuko), though it’s also looking not to be as much about the exclusive world between Hayato and Nobuko as I first thought. I am a little apprehensive because I know how heavy and meandering love triangle manga can get, but I have faith in the creator Ohachimachi Hato’s ability to weave an interesting tale with endearing characters.

Who Will You Kiss? Me or That Girl?

Nevertheless, the chain of emotions is established, but one interesting wrinkle to this tried-and-true formula is that Natsumi is clearly the more attractive of the two girls. Whether she’s supposed to be relatively plain in the mold of the typical shoujo protagonist, or she’s supposed to be extremely beautiful isn’t entirely clear (were the girls who picked on her jealous or just snotty brats?), but she has all the features typically desired in a girl in manga. Natsumi is quiet, has a good heart, and just comes across as “better girlfriend” material. And yet, she’s the one on the backfoot, because Hayato is just enraptured with Nobuko.

kiminakare3-nobuko

It’s not unusual for the third girl in the love triangle to be at a disadvantage because of personality or because there’s some kind of charisma that the main girl possesses, but it’s also usually not to this extent. There might be some similarities to Kimi ni Todoke, but Natsumi is no Kurumizawa Ume, and Nobuko is two steps beyond the eccentricities of Kuronouma Sawako. Just the fact that Nobuko’s only appearance in this chapter is in the form of a comical rendering just pushes home the idea that Natsumi is competing with a force perhaps unlike any other in romance manga.

Last Thoughts

This is definitely not the Chapter 3 I was expecting. While I worry about love triangles a bit, I’m also looking forward to where the manga goes from here.

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Awesome Manga Artist Autographs: Comic Store Wonderland in Osaka

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wonderland-shoujofight

In many big anime/manga stores in Japan, there are signed images from notable manga authors. Often times, you’re not allowed to photograph them, so they can’t really be shared with the rest of the world. One notable exception is Wonderland in Osaka’s Den Den Town (sort of the Kansai equivalent of Akihabara), where employees gave me free rein.

This gallery includes a number of highlights from Wonderland, so see if you can spot your favorites. However, it doesn’t show all of the ones at the store. If you have the chance, go there in person to see the rest!

By the way, the image above is by Nihonbashi Yoko, who I recently discovered through the manga Shoujo Fight. What a coincidence!

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[Apartment 507] 5 Tips for Growing Your Love of Anime and Manga

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5tips-genshiken

I’m trying to do lists my way! My latest post on Apartment 507 features five pieces of seemingly generic but I think useful advice for those who want to get more into anime/manga (or want to revive their lost interest) but feel lost doing so. Tell me what you think, and even throw in some tips yourself because this certainly isn’t a closed list.

Do! Do! Do! Dreaming Again: The New Cardcaptor Sakura: Clear Card Saga

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ccsakuracc-sakura

There’s a new Cardcaptor Sakura manga in town—Cardcaptor Sakura: Clear Card Saga—and I practically tripped over myself in excitement to get it. The series is one of my favorite anime and manga of all time, and its charming characters, light yet dramatic story, and cute aesthetic make it a classic of the magical girl genre. But it’s been a long time since we last saw Kinomoto Sakura and the rest of the cast proper (meaning no weird Tsubasa Reservoir Chronicle alternates!), and CLAMP, the creators of Cardcaptor Sakura, have also changed a lot since the late 90s when the original manga debuted.

Thus, while reading I had two questions in mind: in what ways does this new iteration try to capture the old CCS charm, and to what extent does it reflect a more contemporary sensibility?

The Story of Cardcaptor Sakura

The original Cardcaptor Sakura follows Kinomoto Sakura, a 10-year-old girl who is tasked with collecting mystical cards known as Clow Cards. As she retrieves them, the cards give her magical abilities such as flight, and command over the elements. Eventually obtaining all of them, Sakura soon discovers that she must also transform them into her very own “Sakura Cards” and become their new master. After much hardship (and a developing romance between her and Chinese rival/friend Li Shaoran), she succeeds, leaving her to be quite possibly the most powerful magician on Earth.

The Clear Card Saga takes place during the same timeframe as the epilogue of the original manga, when Sakura is in middle school and reunites with Shaoran, who has transferred back from Hong Kong so they could attend school together. In this chapter, we see many familiar faces, including Sakura’s family, her best friend (in fact the best friend in all of anime and manga) Tomoyo, and her magical guardians, Kero and Yukito. The first chapter is mainly there to re-introduce the cast and to set up a reason for Sakura to take up her magic wand once more, and in that respect it is a welcome homecoming.

No Pasta

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One of the most immediately notable aspects of the new series is that it lacks any signs of current CLAMP’s “noodle people” style that has permeated their works over the past decade and change, wherein characters have unusually long and distended-looking proportions. All aspects of the series seem to be geared towards reviving the original Cardcaptor Sakura look, albeit refined with many more years of experience.

One Card Girl

In one scene, Sakura mentions that she hasn’t had to use magic in a long time, and I find it to be a striking moment for a couple of reasons. First, while it’s impossible forget that Sakura is indeed a magical girl series, I almost didn’t notice that there was little mention of magic prior to her staring fondly at her old wand. Cardcaptor Sakura is well grounded not just in its fantastic elements but also its human relationships (both platonic and otherwise), and the series draws much of its strength from them. Second, while she doesn’t state it herself, she can indeed be argued to be the strongest magician there is, but she still behaves like an innocent young girl with a heart full of love and energy. Would it be strange to compare her to Saitama from One Punch Man?

Tomoyo: Return of the Queen

ccsakuracc-tomoyoshaoran

I don’t think I’m alone in saying that, as fond as I am of Sakura herself, Daidouji Tomoyo is the one I’ve been most looking forward to seeing again. For years, she was my favorite anime and manga character, and it actually wasn’t until I discovered Ogiue that this changed. Even so, Tomoyo is still my #2 because of her warm heart, support of Sakura, and series of minor eccentricities. Her grand return is nothing short of spectacular, and I look forward to seeing more of her and her ridiculous wealth (and bodyguards).

Her role in this first chapter is mainly to get Sakura to blush profusely as she takes candid video of Sakura reuniting with Shaoran. Tomoyo is the kind of person who wouldn’t mind just recording Sakura in her daily life, but I’m confident that she’s going to be the most excited of all that Sakura’s going to have to sling some magic again. I can just picture the inevitable stars in her eyes in the coming chapters.

Another interesting point concerning Tomoyo is that she’s no longer in the same class as Sakura. While most of the old Tomoeda Elementary crew has gone on to Tomoeda Middle School, many of them have been split up into different classes. It’s actually a common technique to try and mix things up in a number of series that take place in school.

This means that Tomoyo will possibly be interacting much more with other characters. While it’s not like Tomoyo only ever showed up when Sakura was around, or didn’t talk to other characters on her own, it’s still a significant shift in the dynamics of interaction in Cardcaptor Sakura.

A Premonition for the Future

I want to mention that I probably won’t be chapter reviewing this new Cardcaptor Sakura just because I’m already doing two different series now (Genshiken and Kimi Nakare), and I think three series starts to be a bit too much. However, I might make a post every month or two as a way to look in and see how everything’s going.

Thus far, it’s a great start, and even if this chapter mostly treads familiar territory it does so in a way that gives me faith that the series will turn out well.

ccsakuracc-nakayoshipoll

As a final side note, there’s a character poll at the beginning of this issue of Nakayoshi, to vote for who should appear on the cover, and Sakura is #2. While there’s no indication that placement equals popularity, I have to wonder, or perhaps hope. After all, #3 is Momoka, the morally bankrupt protagonist from Sabagebu!

If the young readers of Nakayoshi are fans of Momoka, I am both looking forward to and dreading the future. Sakura might be a safer bet overall, though I wonder if she is still as timeless as she seems.

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Space Battleship Yamato 2199 and More in Super Robot Wars V

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To celebrate its 25th anniversary, a new Super Robot Wars game is coming out in 2017. As is tradition, a number of new series are debuting, including Brave Express Might Gaine, Cross Ange, and what looks to be more Full Metal Panic! now based on either the new upcoming anime or its light novel source material. However, the biggest surprise of all has to be the debut of Space Battleship Yamato into the storied giant robot crossover video game series.

The main surprise, of course, is that Space Battleship Yamato 2199 isn’t a giant robot series. While other entries have in the past stretched the definition of giant robots, from Heroman to Juushin Liger, and others have source material in games other other media (notably the Hatsune Miku Fei-Yen), Yamato is the first to just flat out not be a robot series.

While this is the sort of exception that can get fans in a tizzy (“Is nothing sacred?!”), I think Yamato more or less gets a free pass as one of the most influential science fiction anime of all time. Its original staff was comprised of some of the luminaries of mecha anime (Yasuhiko Yoshikazu, Ishiguro Noboru, and more), and the idea of the “space opera” has had a long reach throughout Japanese pop culture history.

With this news, a new hashtag has appeared on Japanese Twitter:

It’s resulted in some iinteresting entries.

https://twitter.com/penguin897/status/739077171944165376

https://twitter.com/Nazo_no_Otaku/status/739049936243687424

The other big surprise is that Super Robot Wars V will come with subtitles in Chinese, Korean, and English. However, due to licensing, the chance of a true English release is kind of slim.

What do you think should be in Super Robot Wars? How far can the definition of mecha be stretched?

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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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