You Might Feel a Little…Attracted: Hato Kenjirou Figures Review

While Genshiken-related merchandise remains relatively sparse in the grand scheme of figure collecting, Kodansha recently collaborated with Kaiyodo to bring two Hato Kenjirou figures to loyal readers.

The first figure comes from an issue of Monthly Afternoon and features a standing Hato, while the second one comes from a limited edition Japanese release of Genshiken Volume 11.

Featured here is Standing Hato. As can be seen from the photos, the quality of the figures is trading-figure-level, so it won’t match up to a really good model, but as far as trading figures and gashapon figures go, it’s actually fairly impressive. There doesn’t seem to be any significant bleeding in the paint job, and even the details on the purse hold up to a certain amount of scrutiny.

Aside from the seams separating the pieces which make up Hato’s hair, there aren’t any really noticeable flaws, and even that is just part and parcel for the level of figure we’re getting here. The flower pattern on the dress and the details on the denim jacket also look good.

Next up is Sleeping Hato, otherwise known as Unconscious Drunken Hato.

Aside from some minor flaws, the second figure is just as solid as the first. They even did a good job on the toes, which I get the feeling would be enormously easy to mess up on a figure this small and relatively inexpensive (it came packaged with the volume for a bit extra, though I can’t remember exactly how much).

Because Sleeping Hato has to be constructed from more parts than Standing Hato, the seam in the dress between the torso and the legs is much more noticeable, though I don’t find it to be the biggest deal in the world. Again, given the typical quality of these figures, this one does a good job. You’ll note that they sculpted his hair to match the fact that he’s supposed to be lying down.

Actually, Sleeping Hato comes with one additional feature that most other figures lack: It’s a refrigerator magnet!

There’s a small magnet sticking out of Hato’s back which I’ve chosen not to photograph, but it’s pretty much what you might think it is. Are your to-do lists for grocery shopping feeling a bit lonely? Do you wish you had company for your magnet souvenirs from Japan? This crossdressing fudanshi figure successfully accompanies all fridge doodads! What’s more, 9 out of 10 people can’t tell that it’s a man!

So there we go. Both figures at this point will be pretty difficult to find, especially because they were both packaged as extras. I’m certainly not the biggest fan of Hato Kenjirou, but I have to say that both of them look good if you judge them by overall figure standards, and great if you judge them among their peers.

Rinshan Kaihou: Genshiken II, Chapter 78

Kasukabe Saki visits Genshiken, bringing pangs of nostalgia to readers everywhere! As Hato puts it, “Is this what Genshiken used to be like?”

As Hato exchanges contact information with his old classmates, Kasukabe attends Shiiou University’s school festival, she catches up with her old friends, showing the degree of wit and perceptiveness she’s always been known for, the conversation turns towards the future, career paths, and even romance. Watching Saki work her magic, Hato can’t help but notice that the club somehow seems more lively when she’s around. Inevitably the topic of conversation turns towards Madarame, whom Saki caught receiving a kiss on the cheek from Sue in the previous chapter. Having heard about Madarame’s full-scale defense against the charms of Angela on top of that, Saki jokes that Madarame must be a lolicon, to which Hato comes to his defense in a rather awkward way.

As Sasahara’s sister discovers the truth of Hato, Saki silently considers that Madarame is finally hitting the point at which a guy like him becomes attractive to the opposite sex. Encouraging him to try out dating, the conversation ends on the kinds of porn that Madarame watches, which apparently is “everything.” We already knew that, though.

The new crew doesn’t get much exposure this chapter, but the hints towards Yajima possibly having feelings for Hato are definitely there. This is evident from the way her old friend Mimasaka, who thinks the world of her, reacts to Hato. Even if Mimasaka is being paranoid, it seems like she knows Yajima well enough to see when something is up. I actually expect them to be the focus in the next chapter or the one after that, especially because Hato’s story is “wrapping up” in certain respects, the mysteries of his existence now being a little less mysterious.

I have to wonder if showing Kasukabe again is a little cruel to the people who really miss the old Genshiken. While I know plenty of people who are fine with the new series, I also know people who much prefer the original style, presentation, and character dynamics of the first series. Giving them a glimpse of that environment once more might be equivalent to saying, “I could have continued Genshiken like how it used to be, but I didn’t!” In this respect it really does make the new club seem like a second generation.

That said, Kasukabe has always been that extra bit of spice which pushed Genshiken into interesting directions, the sole non-otaku in the club full of hapless dorks, as opposed to the current state where awkward isn’t quite what it used to be but no one is so firmly out of that sphere as Saki was. Just the way her statement about being okay with gay relationships getting misinterpreted by the fujoshi minds of Ogiue and Ohno (Saki’s response is that she’s referring to actual gay couples she knows in real life) shows that the rift still exists, albeit a rift that has had a solid bridge of friendship and understanding erected across it for years.

I realize that one of the limits of my analyses every month is that I don’t spend a significant amount of time on Hato, who seems to be getting more and more time in the story. At the same time, personally speaking I don’t think predicting whether or not he’ll end up with someone, be that Madarame or otherwise is particularly fruitful. I think Hato’s sexuality is not meant to be clear cut, whether that’s “he’s gay but denying it” or, as so many have mentioned both within the story and outside of it, that “2D and 3D are different,” and though I don’t have quite so much of a vested interest in the turn-out, I do find the degree to which the manga tackles the ambiguity of the topic to be particularly good. Hato destroys the lines which divide.

To what degree is otaku culture, especially male otaku culture, receptive to concepts like homosexuality or even sexuality in general? I’ve viewed it, both within Japan and outside of Japan, as being somewhat similar to geek culture in general in this regard, which is to say liberal in certain ways but can be quite conservative in others, which is why, as Kio Shimoku continues to bring the topic up through Hato and his potential feeling towards Madarame every chapter, I have to step back and think, “is this okay in a seinen magazine?” Granted, it is a seinen magazine which also runs Ookiku Furikabutte! (Big Windup), but I feel like there’s definitely a risk involved, especially when the potential target of homosexual affection is the most geeky of the otaku in Genshiken. Then again, if the guy was willing to make a detailed and in some ways harshly realistic manga about raising a newborn, then I guess nothing can stop him anymore (aside from lack of sales).

Saki views Madarame now as the late bloomer who’s apparently finally showing his petals. I’ve seen other manga talk about how there are simply times in a guy’s life when he’s more attractive to the opposite sex (and in the context of harem manga this means having it all concentrated into the present), but I don’t think Genshiken is quite going for that. Rather, I think it’s a complex interplay of elements that gives us the Madarame of today. When you actually look at him, although he’s similar to the Madarame we saw back in Chapter 1, he has in fact changed quite a bit. First, he’s not nearly as “aggressively otaku,” touting the lifestyle as a badge of sad pride, and second, he’s nowhere near as uncomfortable around girls as he used to be, probably from interacting with them so much in Genshiken.

Call it whatever you want, maturity, a betrayal of moe values, but I could easily see the how tempering of his passions to still be evident but not quite so extreme, as well as his overall understanding attitude (the result of being otaku in certain ways) could combine at this current point to make a fairly attractive guy. It doesn’t hurt that he dresses better now too. Madarame is seemingly no longer held back romantically by just being too much of an otaku, but by a combination of being unable to accept the possibility that he himself might be attractive, and that he has an unrequited love which he’s afraid to lose or to move away from. That said, I have to wonder if having to constantly interact with the girl he loves while hiding the fact (or at least trying to) also ironically helped him to develop more socially.

I noticed that there’s discussion as to whether or not Kasukabe is actually pregnant, given her choice of clothing, or if that’s just some fashion faux pas on the part of Kio. I can’t decide for myself, but I will say that because he’s tackled the topic of pregnancy and childbirth in his work, it wouldn’t be that surprising. It also might be me just making silly associations, but the way she looks reminds me of that moment in His and Her Circumstances where Yukino is pregnant and her mom, not knowing the truth initially, comments that she somehow looks more mature.

Again, though, I can’t say but it would lend meaning to Saki’s remark that Ohno’s wedding must be getting close. I have no idea whether she’s just joking or not, though Most of the relationship developments in the manga for Ohno and Tanaka have been off-panel (though the anime Genshiken 2 had its own steamy interpretation of things), so I can’t count out the possibility that this is actually for real.

Last thing I’ll say is, the reference for the next chapter is of Getter Robo Go, a decidedly older series compared to what’s been used lately. Curious.

The Fujoshi Files 51: Asada Naoko

Name: Asada Naoko (麻田直子)
Alias: Nyaako (にゃーこ), Cat-Mouth Girl (猫口娘)
Relationship Status: N/A
Origin: Genshiken: The Society for the Study of Modern Visual Culture

Information:
Asada Naoko, known to many as “Nyaako,” is a student at Shiiou University and originally a member of the school’s Manga Society along with her friends Yabusaki and Katou. Though not nearly as boisterous as Yabusaki, she often knows how to temper her friend’s Osakan fury. Asada also gets along with Sue Hopkins from Genshiken owing to their somewhat similar personalities.

Fujoshi Level:
Information on Asada’s fujocity is extremely scarce, and her preference for it can mainly be gleamed from her interactions with her friends. At the very least, knowing where Yabusaki’s own doujin collection is stashed shows signs of mutual interes.

81 Diver is Amazing

Sometimes I can’t believe how much I enjoy the ugly, ugly, ugly art of 81 Diver. Just look at this page for a moment.

I don’t know about you, but when I first saw that kick I simply couldn’t hold my composure. This scene, among many others, actually gets me to burst out laughing.

81 Diver is the work of Shibata Yokusaru, the same man who created Airmaster. It is a manga about Sugata Kentarou, a gambling shougi player, and the woman he loves, “Ukeshi,” an excessively well-endowed maid who is also known as a legendary shougi player renowned for her defensive and reactionary play. I have never played a game of shougi in my life, so much of the terminology goes straight over my head, but the terseness of the dialogue and the sparseness of text in the word bubbles combined with the frenetic line work makes each match extremely tense and exciting, especially given how absurd the characters are.

Let me tell you about what I believe is one of the defining moments in 81 Diver. Sugata is playing a hobo/shougi hermit. Money is on the line. Sugata’s stipulation is that if he wins, he gets the shougi hermit’s money (he’s a hobo but he isn’t poor). The hermit agrees, but in exchange, he demands that his prize be to get a handful of Ukeshi’s breasts. The hero, hearing this stipulation, demands that this be a serious match, but rather than forcing the hobo to change his prize, he takes the reward of touching Ukeshi’s chest as his own incentive, even foregoing the money to do so. As the two of them play an incredibly intense game of shougi full of blood, sweat, and tears, both of them have one thought on their mind: “I’M GONNA GRAB EM!” Spoilers, I guess, but in the end neither gets to grab them. That’s the kind of manga 81 Diver is.

I know there’s a J-drama based on 81 Diver, but I’ve yet to take a look. I do worry that the basic veneer of attractiveness that all live action Japanese manga and anime adaptations undergo with its actors would take away from the appeal of the manga. Related to that point, I honestly think that if the art were prettier or sexier or even had a more solid grasp of anatomy, then it would fundamentally change 81 Diver for the worse. The premise, a shougi-playing maid with gigantic breasts, could easily become another Ikkitousen or Queen’s Blade where the content of the manga practically bends and warps to the will of the women’s curves. And certainly there are plenty of cleavage shots of Ukeshi and the like, but the artist’s style instead manages to shift emphasis away from her attractiveness despite how much time is spent on describing her as a voluptuous woman. It’s ugly and outrageous, and the result is that when I think of Ukeshi I think of her unbelievable shougi skills first. It also doesn’t hurt that she’s shown to be in most ways Sugata’s superior in their chosen game, which makes their absurd romance all the more fun to read.

Almelo Anime 2012 Sketches

As promised in my con report, here are the doodles I did while in the drawing room at Anime 2012. My favorite one is the creepy cult leader hitting on the lady.

Otakon 2012 Impossible Schedule

Otakon 2012’s right around the corner, and that means frantically trying to figure out which panels and such to attend! Compared to other conventions, Otakon has more panel programming than anything else, so it’s always a matter of having too much desire and not enough time in the day for it. I’ve posted a tentative schedule below for things I’m interested in, but as you might notice a lot of the times conflict, so I’m basically going to be playing it by ear once I get there. I got a ton of autographs at Anime Expo, so I feel less inclined to get them this time around, but I’m going to aim for at least a couple.

Of particular note is the return of the Japanese Mahjong Panel, “Riichi: Japanese Mahjong, Anime, and You,” run by myself and Dave. It’s one of the first things you can do on Friday, so if you’re there that early I highly recommend you come in and check it out!

No fancy badge this year, but I’ll try to label myself accordingly.

See you there!

Friday
Riichi: Japanese Mahjong, Anime, and You, 10am-11am,Panel 4 (I’m on this panel!)
Hidetaka Tenjin Q&A – 11:15am-12:15pm, Panel 1
Gen Urobuchi Q&A  (Panel 3) OR The Chubby Characters of Anime and Manga (Panel 4) – 12:30pm-1:30pm, Panel 4
Opening Ceremonies – 1:45pm-2:45pm, Panel 3
Tetsuya Kakihara Q&A – 3pm-4pm, Panel 1
Gen Urobuchi Autograph – 3:30pm-4:30pm, Autograph 3
Tetsuya Kakihara Autograph – 4:30pm-5:30pm, Autograph 1
New Anime for Older Fans – 5:30pm-6:30pm, Panel 2
Sports Manga: Olympics Edition – 8:30pm-9:30pm, Panel 2
Genshiken: The Next Generation – 10pm-11pm, Panel 2 (Required)
Anime’s Craziest Deaths – 12:30am-1:30am, Panel 3

Saturday
Fandom & Criticism – 9am-10am, Panel 5
Ai Nonaka Q*A – 10:15am-11:15am, Panel 1
Anime and Manga Studies: Three Decades In – 10:30am-11:30am, Panel 6
Yuuka Nanri Q&A – 11am-12pm, Panel 1
Gen Urobuchi Autograph – 12pm-1pm, Autograph 3
Yuuka Nanri Autograph – 1pm-2pm, Autograph 2
Sexism in Anime – 1:45pm-2:45pm, Panel 4
Aya Hirano Q&A – 2pm-3pm, Panel 3
Hidetaka Tenjin Autograph – 2pm-3pm, Autograph 1
Maruyama & MAPPA Q&A – 3:15pm-4:15pm, Panel 4
Gundam Official Panel – 4:30pm-5:30pm, Panel 1
Unusual Manga Genres – 4:45pm-5:45pm, Panel 4
Dead Like Us: Death Lore and Japanese Media – 9pm-10pm, Panel 5
The “Art” of Fanservice – 11:30pm-12:30am, Panel 6
Navigating LGBT/Queer Identities within Japanese Media -1m-2am, Panel 1
Type Moon: Unlimited Panel Works – 1am-2am, Panel 2

Sunday
Ai Nonaka Autograph, 10:30am-11:30am, Autograph 2
Masao Maruyama, 10:30am-11:30am, Autograph 3
Sentai Filmworks Industry panel, 10:45am-11:45am, Panel 1
Kodansha Comics, 11:45am-12:45pm, Panel 5
Vertical 2012, 1pm-2pm, Panel 4

 

The Fujoshi Files 50: Yajima Mirei

Name: Yajima, Mirei (矢島美怜)
Alias: Yajimacchi (やじまっち)
Relationship Status: Single
Origin: Genshiken: The Society for the Study of Modern Visual Culture II

Information:
Yajima Mirei is a student at Tokyo’s Shiiou University, where she is a member of the club Genshiken, which in its most recent incarnation is primarily populated by women. Accustomed back home in Tochigi to being the “confident one” to compensate for the shyness of her friend Mimasaka, her situation is reversed in Genshiken where the combination of beauty and talent on display, especially coming from the male crossdresser Hato Kenjirou, in contrast to her own negligence when it comes to personal fashion, gives her something of an inferiority complex.

Yajima is a fan of Jump-esque shounen titles, notably Ten Piece and Menma. She enjoys drawing but is not terribly skilled at it. She is also not quite as eager to declare her love of yaoi and strike up conversation about it like her good friend Yoshitake. Though cynical and brusque to some degree, Yajima is at times also trusting and naive, such as when she initially expressed shock at the notion of drinking alcohol despite being underage.

Fujoshi Level:
Because Yajima prefers to remain reserved even when discussing yaoi, there are not clear indicators of the extent of her fondness for the subject except that she is undeniably a fujoshi. Rather, it is in her inaction that her firm status is revealed. When club chairman Ogiue shows her and the others doujinshi she drew of her actual boyfriend, Yajima does not refuse a copy.

“Government-approved” “Cool” “Japan”

I was thinking a little about the concept of “Cool Japan,” and why the idea has lost traction among various levels of fans and critics. One argument I hear occasionally is how, at the end of the day, people cosplaying and running around at conventions doesn’t give an image of “cool” or “cutting edge” but an image of regression or perhaps even immaturity. Essentially, people overestimated how “cool” Japan actually is. I don’t know how much this is really the case.

Another side is the way that Cool Japan was essentially government-backed. The idea of it was to use the media/fashion/image of Japan as “soft power” to influence the world. The problem, as far as I see it (and I think I’ve read similar arguments elsewhere), is that one of manga’s oft-touted strengths is its variety in terms of genres, ideas, philosophies, demographics, and even art styles. However, when it is being used by the Japanese government as one of its public faces, the manga and anime pushed out by the government becomes tacitly “government-approved.” If something is government-approved to be an image of the nation, then there is little chance that any government would willingly let their country’s image be tarnished by specific titles.

Essentially, what I’m thinking is that Cool Japan as a government-backed endeavor to some extent has to necessarily work against manga and anime as mediums of variety. I think the difference is between having something “government-approved” and “government-allowed.”

But I’m sure this topic has been talked to death. Probably at Neojaponisme.

The Fujoshi Files 49: Yuria

Name: Yuria (ユリア)
Alias:
N/A
Relationship Status: Dating
Origin: Hanjuku “fu” joshi

Information:
Yuria is a student at an all girls’ high school who begins a relationship with an older fujoshi artist named Chie. Prior to showing her feelings to Chie, Yuria was already a fan of her work as “Kai Muryuu.”

Though Yuria has an interest in both yaoi, she does not appear to have an interest in men. However, the fact that she is a fan of yuri involving significant age gaps between the two partners may mean that her fandom in that area does influence her human relationships.

Fujoshi Level:
Yuria is fujoshi enough to have particular favorite BL artists and the like.

How Much Does “Japanese-ness” Matter to Anime and Manga Fans?

The stereotypical image of the non-Japanese anime fan is someone who is in love with Japan. He goes by many names, mostly given by others but also self-referenced: otaku, wapanese, japanophile, weeaboo. This anime fan believes that at least part of what makes anime great is that it comes from Japan, and this imbues a certain degree of specialness or at least difference to it.

But I have to wonder, just how much is it even true that Japanese-ness is that vital component for so many anime and manga fans?

This is not to say that it definitely does not matter for people or that at the end of the day fans are better off judging things from some imagined objective stance of mighty neutrality, but rather is just me asking about where that desire for Japan may or may not exist.

Let’s talk about fans of dub voice actors, the kind who line up to get their autographs every time they appear at a convention and who vastly prefer them over their original Japanese counterparts. You can say something about how those are the voices they’re familiar with, and that they were exposed to those voices through a more accessible medium like television, but what I think is that, at the end of the day, even if Japanese-ness might be present in other areas of the anime they like, be it the character designs or the settings of the stories, “Japanese-ness of speech” itself is not as much of a factor. Having the comprehensibility and perhaps even understanding of nuance of English (or whatever language) is more important than having the characters speaking in Japanese.

Once I attended a cherry blossom festival in New York, where I saw a black girl dressed in a kimono. If it wasn’t clear that she was an anime fan, she was also surrounded by friends cosplaying Naruto characters. What was interesting about the way she wore her kimono though was that it clearly wasn’t the correct way to put one on nor the correct way to walk in one but it was obvious that she didn’t care. I got the impression that even if she knew, it wouldn’t really have mattered. While the coolness and I would even dare to say the Japanese-ness of the kimono itself was important, it was also important for her to assert her own attitude, to conform the kimono to herself rather than the other way around.

A simple hypothesis would be that a fan prefers just enough Japanese-ness for their anime and manga to seem special or different, but not so much that it becomes utterly alien or unapproachable. However, I think that would be a flawed statement for a number of reasons. First, an appeal of Japanese-ness might not necessarily equate to exoticism or Orientalism (though in many cases it probably would), and second, there is a dynamic of what people do and don’t want to be, how much they expect things to conform to their own values rather than the other way around, and so “alien” for some may be preferable. Maybe I’ll think of something better eventually.