Study Up for Otakon 2011

This weekend from July 29th to the 31st is Otakon weekend and I will be in attendance. Otakon this year is packed with guests and premieres, and I’ll most likely be attending as many of those as I can, as well as a bunch of other panels in between.

I’ll be wearing this:

I’ll also be participating in one panel, which is “Anime and Manga Studies” on Sunday at 9am. If you’ve ever thought about using anime or manga in a school paper, or if you’re interested in becoming a research of anime and manga, this is the panel for you. Don’t worry about not being “academic” enough, either. I’m a fan who became an academic, and as anyone who knows me is aware, my fandom is stronger than ever.

I also recommend attending the Masao Maruyama Q&A (even though I probably won’t be so I can see Shinkai’s new film). He comes every year but those things are always incredibly, incredibly informative. Ask him about the new Kaiji Season 2 that’s currently airing!

This is only a tentative schedule, and my plans might change on a whim or because I’ll be hungry, but here are just some of the things I am considering attending. I’ll also be trying to get a bunch of autographs.

Friday

  • 9:00am: Best Manga You’ve Never Read (Panel 4)
  • 10:30am: Moe Moe What? (Panel 4)
  • 11:00am: Remembering Satoshi Kon (Panel 1)
  • 12:00pm: Becoming a True Pokemon Master (Panel 4)
  • 1:00pm: Opening Ceremonies (Panel 3)
  • 3:00pm: Aniplex of America Panel (Panel 1)
  • 5:00pm: Madoka Magica + Q&A (Video Room 5 HD)
  • 8:00pm: Chemistry Concert (Hall D)
  • 9:30pm: Fukushima Dai-ichi (Panel 1)
  • 11:00pm: Bad Anime, Bad!! (Panel 5)

Saturday

  • 9:00am: Unusual Manga Genres (Panel 2)
  • 10:00am: Hoshi o Ou Kodomo +Q&A (Video Room 5 HD)
  • 1:00pm: Special Surprise Premiere (Video Room 5 HD)
  • 2:30pm: Trigun: Badlands Rumble (Video Room 5 HD)
  • 4:00pm: Vertical Industry Panel (Panel 5)
  • 5:30pm: Full Metal Alchemist: Sacred Star of Milos (Video Room 1)
  • 7:30pm: Sunrise Industry Panel (Panel 3)
  • 10:00pm: Dubs that Time Forgot (Panel 1)
  • 12:30am: Anime’s Craziest Deaths (Panel 6)

Sunday

  • 9:00am: Anime and Manga Studies (Panel 2) <– I will be on the panel
  • 12:00pm: Kylee Concert (Hall D)

See you at Otakon!

Angela Attack: Genshiken II, Chapter 66

I’ve been waiting for a month to use that title.

The final day of Comic Festival is nearing its end, and Madarame is in deep trouble, at least from Hato’s perspective. First, Madarame and Hato encounter Kohsaka, whose picture-perfect crossplay (to promote his company’s new 18+ game) blows away both of them. Hato remarking with amazement that Kohsaka, unlike himself, doesn’t even need makeup to complete the gender illusion, wonders why things aren’t more uncomfortable between Madarame, who likes Saki, and Kohsaka, her boyfriend. Hato comes to the conclusion that Madarame’s just isn’t able to compete for Saki’s affections. Madarame and Hato comfort each other over their respective areas of inferiority relative to Kohsaka, though Hato points out that he’s much better at undergoing the cross-gender transformation by using his feminine voice.

Angela strikes, laying on the flirt as thick as humanly possible, with Madarame naturally not being sure what to do. Hato jumps in for the rescue, pointing out that Angela is flying back the next day, so obviously there’s no way anything could happen between them, but Angela doesn’t quite agree.

Knowing that the actual reason Madarame can’t even begin to think of Angela is because Saki is still in his heart but not wanting Madarame to know that he is aware of Madarame’s unrequited love, Hato changes his thought midstream to try and find a safer reason. In doing so, he blurts out that Madarame is such an uke that there’s no way he should be with a girl, though unbeknownst to Hato, Angela is a big fan of Madarame as “sou-uke,” and instantly bonds with him. Wanting to point out however that real life and fiction are different, physically different, Angela tries to give Madarame his Very First Boob Grab, but is deflected by Sue, who then admonishes Angela’s rash action with a roundhouse kick.

At the end of the day, Angela still has her eyes set out on the 72-year-old Pit Viper, Madarame and Hato grow in their friendship, and Madarame comes to the shocking realization that he is in fact perceived as the catcher in yaoi imaginings.

Angela’s forwardness and acknowledgement of previous experience with one night stands sets her far apart from the nerds of Genshiken and at first it might come across as too far out there from how Genshiken has been in the past, but given what has happened in the manga before, it doesn’t seem so inappropriate. If you think about it, the awkward expression of sexuality has been a big part of Genshiken from day 1, whether it’s Saki having to come to terms with Kohsaka’s 2-D complex, the Sasahara x Madarame doujinshi that underscores Sasahara and Ogiue’s relationship, or even the fact that every ComiFest ever has been about buying comics not to “read” but to “use,” and the understanding that everyone else you know is doing the same. In this regard, the most awkward moment of all might just be seeing Angela’s “sex on the first date is okay” viewpoint collide with Madarame’s otaku chivalry, the same noble attitude that at first kept Madarame from taking a seat on the train in place of Saki back in Chapter 32.

That said, it is still a bit of a shock to just see Angela just blast down that implied wall of silence that surrounds the topic of sex, a wall that normally is talked around  or through tiny holes, but is rarely trampled over so easily. It’s a kind of bluntness similar to Sue, and I have to wonder if this is a shared American trait for the purpose of the story. On the other hand, Angela and Sue’s aggressive attitudes aren’t quite the same, and while we see Sue expressing her fondness for yaoi or making references all the time, I can’t really ever see her coming on to a guy as nonchalantly as Angela does. It makes me want to see their friendship in action outside of the context of a visit to Japan.

While that might be considered an inter-otaku cultural gap between Japan and America (and even only somewhat so), the inter-otaku generation gap is also clearly  present in this chapter with Madarame and Hato. At first when Hato sees Madarame talking to Kohsaka. “Why isn’t Madarame seeing him as a rival?” Hato wonders, but just the fact that Hato is asking that question shows a different mindset from the older members of Genshiken. Going after a girl who’s already in a relationship when, on top of that, you’re friends with the both of them? That stuff is for fiction, man. How differently might this manga have turned out had Madarame gone for it from the start, or if Ogiue and Ohno already had boyfriends prior to meeting Sasahara and Tanaka? Would those two have even bothered? But that’s just not how Genshiken is, because that’s not how the characters are. After all, I’m sure that people besides Tanaka entertained the thought of having a relationship with Ohno after she joined, but once it was established that she had a thing with Tanaka, that ship sailed. It’s not a matter of monogamy or anything like that, but simply that someone like Hato (or Yoshitake) carry an extroverted attitude and awareness of interpersonal relationships romantic, sexual, or otherwise, that only the non-otaku Saki and Keiko could see as clearly.

It’s also nice to see the friendship that has formed between Madarame and Hato. Could it be something more? I doubt it, given that both have said outright that they are not into same-sex relationships, at least outside of the world of BL, but I could see the idea continuing to make things a little awkward for them, especially given the number of (too much) high-power fujoshi populating the club.

There was only one small Ogiue cameo this chapter, so let’s close out with it.

The Manga Amber of Otaku Hardcore

Sometimes the really hardcore otaku manga out there are criticized for holding back anime and manga, for catering mainly towards maniacs who want their series to look and feel a certain way, and in doing so restrict the respectability that comes with artistic variety. But as much as topics like fanservice and moe exist prominently in these sorts of criticisms, and as much as there’s the image of the anime fan with seasonal short term memory, I feel that having hardcore devotees of anime and manga allows certain drawing styles to exist in comics even well after their heyday has passed.

70s-style shoujo manga is called such for a reason, and unless you’re Miuchi Suzue drawing Glass Mask and you’re literally a 70s shoujo manga artist still drawing to this day, it’s hard for an artist to draw in that manner and succeed on a mainstream level, especially if they’re a younger artist. Sure, you could put some blame on otaku liking more modern styles, but it stretches well beyond that demographic to the average reader, and the otaku magazines also seem like the only places left where someone can draw 70s shoujo-inspired comics and be appreciated for it.

One example I can think of is the title Christie High Tension, a detective series centering around the niece of Sherlock Holmes. She learned the game from her Uncle Holmes, and now she’s heir to the name Jaaaames B- uh, in any case it has an art style straight out of that Candy Candy/Rose of Versailles vein, and it runs in the same magazine as Dance in the Vampire Bund of all things.

Certainly you couldn’t call it “progress,” as it’s more a kind of preservation of the past, but I know that I always feel a little sadness when I look back to older manga art, and ask where this all went. It’s not really about lamenting the changes that have happened to manga, so much as it is wishing that as trends develop, the old ones still don’t end up being forgotten, that manga continues to increase its variety.

The Fujoshi Files 22: Arisaka Haruka

Name: Arisaka, Haruka (有坂 遥)
Alias:
Harurun (はるるん), Haruharutei (ハルハル亭), Ice Cream (あいすくり~む)
Relationship Status: Single
Origin: Otaku no Musume-san

Information:
Arisaka Haruka is a high school-age manga assistant who lives at Higan-sou, a small apartment filled with otaku and other eccentric individuals. The younger sister of a popular doujin artist, Haruka also attends Comic Market frequently as an artist. Unable to find self-confidence on her own, she began mimicking her sister both in drawing style and personality, and even quit high school as a result.

Though she originally copied her sister, Haruka was able to rediscover her own style and conviction to draw manga thanks to the help of Higan-sou resident and fellow manga assistant Morisaki Kouta, his daughter Yukimura Kanau, and Kanau’s friend, Serio, who was a fan of Haruka before she started copying her sister. Haruka has since begun attending high school again and developed a crush on Kouta. Since returning to school, she has gained a friend and fellow fujoshi in her classmate Rika.

Fujoshi Level:
Haruka’s fujoshi mind has been able to fantasize about Kouta and another resident of Higan-sou in loving embrace using that energy and her own artistic talents to bring those ideas to life. Fueled partially by her crush on Kouta, it is unknown to what extent the fictional BL Kouta’s personality differs from the real thing.

Scott Pilgrim, Monkey Manga, Negima! Decisive Interviews Against the Comics Industry!

Comics Alliance put up an interview with Bryan Lee O’Malley, creator of Scott Pilgrim, and Takekuma Kentarou and Aihara Kouji, authors of the satirical yet highly informative guide, Even a Monkey Can Draw Manga. It focuses mainly on the influence Monkey Manga (a cocky, saucy book this one is) had on Bryan as he was getting ready to make Scott Pilgrim, as well as how the series differs from manga (Scott breaking up with Knives for no reason would have been a no-no).

Before you read that talk, or alternatively after you’ve read it, I highly recommend checking out the discussion between Takekuma and Love Hina and Negima! artist Akamatsu Ken, which was translated a few months ago. Whereas the Comics Alliance post focuses almost entirely on the creative side of things, the Takekuma-Akamatsu talk looks at where manga is headed as an industry and how it might have to change. You can see my thoughts on that article here, but I’m putting it next to the O’Malley one just to show how various ideas are being thrown about in terms of how manga and other forms of comics can intermingle on artistic and pragmatic levels. O’Malley talks about the influence of manga on his work, Takekuma and Akamatsu talk about potentially having a division of the workload similar to American comics, and at the very least, it gives the impression that the future of comics will look very different from today.

Read both articles and tell me what you think. I’m very curious to see what kind of impression is given when they’re experienced together.

Mahjongs at Dawn

Friend, mahjong ally, and translator kransom is currently in Japan, and in a conversation online he mentioned to me the fact that Texas Hold ’em has a similar reputation in Japan that Japanese-style mahjong has in America. In other words, it has a small but devoted following where if you say to someone that you know how to play Texas Hold ’em, they’ll get really excited and invite you to play, possibly showing off their Real Authentic poker set in the process. Having a passing familiarity with Texas Hold’em and more of an understanding of mahjong, I can see why they would have a similar exotic and wild appeal. They’re both games where you have to manage your luck.

The only thing that’s missing for Japan is an Akagi equivalent, an intensely dramatic series that thrills you into loving poker. If such a thing could be produced in the US, then the circle would be complete.

Thinking about mahjong as a storytelling device however, I realize that there is an inherent “flaw” of sorts with the game that doesn’t quite exist in Texas Hold ’em, and that is mahjong’s inability to naturally come down to a one-on-one situation. That’s not to say that a 1v1 battle is impossible, but mahjong is inherently a four-player game, with a strange three-player variant if you’re one man short, but no long-standing rules for two players. As a result, mahjong stories have to go through great efforts to transform the game into a duel, whether it’s coming up with an entirely new (and untested) rule set (Ten, Shin Janki), pushing two of the players into supporting or even essentially non-existent roles, or modifying it into a 2v2 game. Texas Hold ’em however can start with a large group and as more and more players lose all of their money, the game can end up in a 1v1 with no wild changes made to the basic rules of the game.

So Texas Hold ’em has potential, though I think anyone who’s seen games knows that. Make it a series about female poker players who really enjoy each others’ company if you have to.

Speaking of, I realize that Saki prefers to have all four players in a mahjong game be their own characters, as opposed to lackeys for more prominent figures in the story, and is kind of an exception as a result. That route is, of course, also a good one.

Notes on Genshiken Volume 10 Extras

I recently received my copy of Volume 10 of Genshiken (aka Genshiken II Volume 1), and as anyone who’s read Genshiken in collected format knows, there are always little extras in between chapters. This time around it’s a combination of four-panel comics and profiles from the Genshiken club magazine Mebaetame, of which only one has been shown in-comic (Hato’s explicit one). The purpose of this post is just to jot down things I find interesting from those extras.

For the sake of convenience, here are all of my individual chapter reviews from Volume 10:

Chapter 56
Chapter 57
Chapter 58

Chapter 59

Chapter 60
Chapter 61

Ogiue’s Pen Name: Ever since it was first revealed, people had no idea how to actually say it. This time around though, Ogiue has given us a handy pronunciation guide, for which I am very grateful. So say it with me: OGINO NARUYUKI. Feels good, doesn’t it?

Majors: The coursework for the characters in Genshiken is something we’ve never learned much about, other than the fact that Kohsaka wasn’t in Computer Science but learned how to program anyway. Now though, we know that Ogiue is a 3rd-year Literature Major, Yajima is 1st-year Literature, and Hato is 1st-year Economics. The rest of them don’t bother mentioning it. I feel like knowing their majors gives some perspective on the whole thing in terms of seeing where the members are coming from, and it’s also interesting to compare to an American college anime club, where history and experience have taught me that a good chunk of them are indeed CS Majors.

Hometowns: For years we’ve known that Ogiue is from the Tohoku region of Japan, but nothing more specific than that. It turns out Ogiue is from Yamagata Prefecture, which of course means that she speaks specifically in the Yamagata dialect.

Yajima is from Tochigi Prefecture (Kanto) and Hato is from Niigata Prefecture (Hokuriku). Yoshitake doesn’t mention anything, and as we already know, Sue is from Massachusetts.

Yoshitake’s Ramblings: If you read my translation of Tamagomago’s post and got confused when he mentions Yoshitake talking about “oinking” (buhireru), it’s because it happens in Yoshitake’s profile, which is a long, long thing all about how she wants to see a manga or anime made out of a particular historical novel. This (and the huge word bubble in chapter 58) also makes it clear that Yoshitake is indeed a literary person.

Favorite Titles: Keep in mind that a lot of the titles are parodies of existing works. A lot of this is gotten with help from this site.

Ogiue: Haregan (Fullmetal Alchemist), Kujibiki Unbalance, Zenkoku no Kyojin (Shingeki no Kyojin [Advance of the Giants])

Yajima: Pakuman (Bakuman), Kintama (Gintama) , Ten Piece (One Piece), Menma (Naruto), Back-bared no Mago (Nurarihyon no Mago [Nura: Rise of the Yokai Clan)

Hato: Duarara!! (Durarara!!), Rebuild of Evingelion, Hetalila (Hetalia), Winter Wars (Summer Wars), Fuyume Yuujinchou (Natsume Yuujinchou [Natsume’s Book of Friends]), Sweets Basket (Fruits Basket), Koi to Kyuuso (Unsure of even the pronunciation), Metro no Inu (Chikatetsu no Inu), Kaburagi-san to Rokuhara-kun (Hori-san to Miyamura-kun), Femto (Fate/Stay Night according to that site), Tsukutsukuboushi no Naku Koro ni (Higurashi no Naku Koro ni)

What we can see is that Yajima sticks mainly with Shounen Jump (or “Shounen Champ” as it’s called in-story) and also that Hato has very diverse tastes, but we knew that already.

Ogiue Likes Sasahara Just the Way He is: Just wanted to point out that in one comic, Ogiue thinks about how Ohno didn’t mention Sasahara among the “weirdos,” but that she likes his unassuming personality.

ME AM OPEN UP AMERICAN CLUB TO MASSES

There have been many, many American characters in anime and manga over the years, and in many cases they tend to use a very odd and unique form of Janglish, where Japanese and English are interspersed. One common way to convey that a character is American (or perhaps just American-esque) is to have them use English pronouns, e.g. “YOU wa baka desu!”

So you’d think they’d use “I” when referring to themselves, but there’s a long tradition of using “ME” (as in “me, myself, and I”) instead. Of course, I don’t quite understand why it’s used over “I.” So the thing I’d like to know is, when did this start? How far back in the history of anime and manga does it go? Is it even something that arose out of anime and manga? Perhaps it has something to do with how Americans spoke in post-war occupied Japan.

As far as anime and manga go, the oldest example I can think of with an American character who uses “Me” as one would normally use “I” is Getter Robo, which features American cowboy and robot pilot Jack King. Another popular American character is Terryman from Kinnikuman.

If anyone has more information about the history of American manga and anime characters, I’d like to hear all about it.

Also, In celebration of this most American of days, I’ve decided to open up the myanimelist club dedicated to American characters a little more, so that non-members can also post. I know I haven’t been able to keep up with requests and such over the past year either, so I’m also going to be opening up officer positions over the next few days so that the truly patriotic can make this club greater than it has been.

Time and Genshiken

When I originally read Tamagomago’s post on the Genshiken generation gap, I realized something: time has moved differently for the characters of Genshiken compared to the real world.

The gap between Genshiken and Genshiken II has changed how I relate to Genshiken. Genshiken II starts off only a few months after the end of the first series, but in the real world, nearly five years had passed. One result of this is that the references used in the new series are a little anachronistic (a Zan Sayonara Zetsubou-sensei reference when the show shouldn’t have been out at that point, for example), but the one I find to be more personally important is that I went from being around Sasahara’s age to actually being closer to Madarame’s. I am no longer the college senior who could read about Sasahara’s graduation around the same time as my own. Had the manga progressed steadily from Volume 9, had there not been the long wait to herald in Genshiken II, I wonder if I would’ve also been reading the manga a little differently?

One criticism of the new Genshiken that I see from not just English-speaking fans but also Japanese ones is that it’s been difficult to relate to the new, primarily female cast. The feeling I often get from that response is that the readers who are of the opinion that Genshiken has changed for the worse feel that this world of college-aged otaku is not the one they had originally left. I even talked about it when the new series was beginning, remarking that Genshiken has always been about change, and that it should be possible to relate to these new characters, even if they do come from a different generation otaku. I realize now though that it’s not so much a matter of these readers not being able to relate to characters unlike themselves, but more that they feel the philosophy of Genshiken has changed, that the core essence is something different and perhaps frightening.

Obviously, the experience of shifting age groups as the result of the gap between Genshiken series is not something everyone can experience, especially if they’re not reading the comic as it comes out. Even if that weren’t the case, given time I would’ve reached Madarame’s age anyway. And even if others are around the same age as me, it’s not like people experience the passage of time in the exact same or even similar ways. More importantly, it’s not like my own personal experiences over the past five years are particularly better than others’. Even so, when I think about it a little more, it seems like one of the themes that comes out of Genshiken for the readers as well as the characters is the influence of personal history and how self-perception of time changes accordingly.

Ogiue originally defined herself by the trauma of her time in junior high. It dominated her life before she was eventually able to move on with the help of her friends. Madarame clings to the recent past by leaving his situation with Kasukabe comfortably ambiguous. Kugayama put his half-hearted ambitions aside and decided to just be normal. The first chairman, well, I’m not sure if he existed within time.

For the fans who feel alienated by Genshiken II, their personal definition of what it means to be otaku, and by extension, what it means to be part of a group otaku, has not changed in the five year Genshiken gap. I emphasize once again that there’s nothing wrong with this, and in fact it’s also pretty much where Yajima is at in terms of her own otaku-existential conflict. As for me, I know fully well how much I’ve related to Genshiken and continue to do so, but I also know that a lot has happened in my life since I finished the original series. I’ve defined myself many times on this blog according to how Genshiken has changed my life, but in the face of this new iteration, I find that it doesn’t change me so much as change alongside me.

Mamma Mia! Genshiken II, Chapter 65

It’s Comic Festival Day 3 (the guys’ day), and Madarame’s in danger! How is he going to fare against a girl who actually wants him? That’s  Genshiken II, Chapter 65.

If it wasn’t obvious from the previous chapter (see the image at the bottom of the post), Ohno’s buxom Bostonian friend, has a certain agenda in mind, and that is to get some sweet, sweet scrawny Japanese nerd ass. Angela does what any remotely observant person would call “really blatant flirting,” and the only things preventing Madarame from realizing the truth are a language barrier, his own nerdish obliviousness, and lingering feelings for Saki. Hato, seeing him in trouble, sheds his female guise and offers to help Madarame and the other guys out with the doujinshi run, at the expense of not being able to participate in a round of cosplay with Ohno and the other girls (Ogiue is still out sick).

As Ohno and Friends are cosplaying the cast of Madoka Magica (sans Madoka herself, who was going to be Hato, and before she caught a fever, Ogiue), Ohno asks Angela about her actions in regard to Madarame, and Angela responds that she’s been interested for a long time now, ever since her first trip to Japan, in fact, but hasn’t made a move because of how infatuated Madarame was with Saki.

Hato, also noticing Angela’s attempts, asks Madarame about his interest towards 3-D girls. Madarame vehemently denies any affection for any dimensions beyond two, but Hato knows that he’s lying,  having previously discovered Madarame’s hidden stash of Kasukabe cosplay photos. At the same time, they also visit the industry booths at ComiFest, where they run into a crossplaying Kohsaka, whose presence surely reminds Madarame of Saki, and also shows Hato what it is to be a natural at crossdressing.

The chapter ends with Angela planning her next move.

There are a lot of little things in this chapter I enjoy, such as the fact that not only is Ogiue absent from ComiFest but so is Sasahara, Sue’s, uh, “cosplay,” and the reactions on everyone’s faces as Angela continues to flirt with Madarame. Of course, the biggest part of this chapter is Angela’s aggressive interest in Madarame, which probably comes as a bit of a surprise if you haven’t seen the second Genshiken TV series. In fact, in this chapter there is a flashback to a scene where Madarame helps Angela read an anime magazine, the moment that Angela started to have a thing for him, but it only ever happened in the anime. Combined with the canonization of the cat-mouth girl’s name as Asada, it’s clear that either the makers of the Genshiken 2 anime consulted Kio Shimoku about the scenes they expanded upon, or that Kio decided to use those ideas for himself.

It still is kind of out of the blue though, considering that aside from the aforementioned anime scene, the only hints we had previously were Angela saying that she has a thing for glasses-wearing “uke,” which Madarame fits to a tee, and a splash image where Angela is wearing his glasses. And I know a question that’s bound to be on people’s minds is, “Why Madarame?” Having a gorgeous blonde all over a skinny otaku is bound to have people accusing Genshiken of catering to fantasies of regular hopeless nerds getting incredibly hot women, but I don’t think it’s as simple as that. It is, however, simple in a different way.

I think it’s clear that whatever Angela’s feelings are for Madarame, it isn’t a profound love that has grown through constant interaction like with Sasahara and Ogiue, or Tanaka and Ohno. More likely, it’s probably a mix of yellow fever and Angela having a thing for guys who are easily flustered, and I even doubt that Madarame is exactly what she wants in a man. And if anything does happen, I think Angela is comfortable with either having it be a brief fling or something longer-lasting; this may be my own interpretation, but I see her as being okay with sex without any deep romantic feelings. In any case, pure virgin bride she is not, but then that’s never been an issue with Genshiken from chapter 1. Also, as Keiko pointed out to Madarame, it’s pretty obvious to everyone that he has feelings for Saki, and it should be no surprise that someone like Angela has also been aware of this fact.

What I find really interesting about Angela’s flirting is Madarame’s reaction to it, which is “complete denial that such a thing could ever happen.” To some extent, I am with Hato in thinking that Saki’s image is still burned into Madarame’s retina and that he’s having trouble moving on because of it, but I also think it’s Madarame denying the possibility that a hot American girl could ever want him. This is a very realistic response from someone who believes he has no chance with women, or that he has no likable qualities as a man, and you see it with dorks everywhere. Personally speaking, I can remember hearing that a girl really liked me in junior high, and oddly enough, like Madarame, my hands were a point of attraction. My response was to completely ignore this information, because I thought that a) no girl could possibly be attracted to me, and b) it must be a prank. Granted, I was 13 and Madarame is in his 20s, but like me, thinking that it’s some kind of cruel joke is exactly his response.

Boy can Tamagomago call it.

I guess the only thing left to ask myself is, am I okay with the idea of Angela x Madarame? My gut reaction is “sure,” but letting my mind into the conversation a little, my revised response is, “As long as it’s written well.” That said, there’s no guarantee of anything happening.