When the Virtual Youtuber group “hololive English Advent” debuted last summer, something in particular caught my eye: The twin demon guard dogs known as FUWAMOCO listed Genshikenas one of their favorite anime. As a fan of the series (in case you haven’t noticed), it was exciting to know there were a couple of VTubers with a fondness for Genshiken. But it left me wondering, who is their favorite character?
Last month, Fuwawa and Mococo did one of their popular karaoke streams—one that later turned out to be a special stream to announce their move to Japan. As if to call back to some possible younger days as otaku,, lot of the song selections were from the 2000s, including “Soul Taker” and “DANZEN! Futari wa Pretty Cure.” Then, they said the magic words: “Kujibiki Unbalance.”
While regular readers of Ogiue Maniax probably already know this, Kujibiki Unbalance is the name of the fictional series-within-a-series in Genshiken, as well as the title of its opening by Under17. As FUWAMOCO began to sing the theme song, I sent a superchat asking about their favorite character, knowing there was always a possibility that they wouldn’t notice. To my pleasant surprise, they responded.
The answer: Madarame. As arguably the most iconic character of Genshiken, he deserves it.
The only caveat is that only Mococo answered, so I don’t know if it’s Madarame for both of them or just her. If I ever get the full answer, I’ll be sure to make an update.
On a recent trip to Japan, I walked past a shrine. Next to that shrine were statues of Dragon Quest monsters. Seeing them reminded me of the sheer impact of those games and the artist whose memorable designs helped to entrench the series in Japan’s popular imagination.
We now live in an age where Toriyama Akira is no longer with us. As the creator of Dragon Ball and Dr. Slump, as well as the iconic artist of Dragon Quest and Chrono Trigger, his influence is nigh-unmatched. There are maybe two or three other series that are as pivotal to shounen manga as Dragon Ball, and Toriyama even casts an enormous shadow on the isekai and fantasy genres: The Dragon Quest series is what established the “Hero” (Yuusha), the “Demon Lord” (Maou), and the “weak Slime” as archetypes in Japan’s popular imagination, and it’s Toriyama’s designs that inform the aesthetic of all successors.
In light of Toriyama’s tragic death at only 68 years old, I’d like to just talk about how my life has been touched by his work. My story is nothing special compared to the millions of voices mourning Toriyama, but I wanted to at least personally add to the well wishes pouring out.
Dragon Ball
Dragon Ball Z was the very first anime that I knew to be “anime.” While I had loved things like Voltron, they were still just “cartoons” to me. But when a relative started bringing home tapes of DBZ, it was a sight unlike any other. I remember just being amazed at the rapidfire punches, the zooming around, the ki blasts—I’d never realized animation could be this way! I cheered for Piccolo, watched characters (gasp) die, saw Son Goku turn Super Saiyan, and witnessed his son step up and defeat Cell. I wondered if anything could ever top this story. I wanted to be Gohan.
It was also a time when I got to play the first two fighting games for the Super Famicom, and when I’d re-read over and over a small guide to the first game that showcased all the playable characters. “What does Jinzoningen (“Android”) mean?” I recall wondering.
So when I first found out that DBZ was coming to US airwaves (for real, and not just finding a random channel that sometimes had Korean episodes of the original Dragon Ball), I was elated at the prospect of Dragon Ball Z getting big. Imagine: more American DBZ fans! While the English adaptations have had their differences with the original (as well as the non-English dub I first watched), Goku ultimately succeeded in reaching into the hearts of countless viewers. (I still wish those early US viewers got the chance to hear “Chala Head Chala,” though.)
Ironically, I was one of those people who’d go on to poo-poo the Dragon Ball franchise. As I got more into anime and manga, I viewed the series as a thing you’re into when you’re just a “beginner,” or obsessed with just macho violence and watching muscle-bound dudes power up endlessly, and I felt good that I knew there was more out there. It took a number of years to get through that embarrassing phase, but I’d eventually come back around to appreciate Dragon Ball for its outsize influence on culture, as well as for just being a work of art in itself. More recently, it’s been great seeing Dragon Ball Superbe a thing, and for Toriyama to have worked to bring back the essence of Goku—as well as the balance of action and humor that Dragon Ball and Toriyama himself had been known for.
Dragon Quest
Dragon Ball Z was actually not my first encounter with Toriyama, and not even the first anime from Toriyama that I had seen. I was one of the kids who watched Dragon Warrior (aka the English dub of the anime Dragon Quest: Legend of the Hero Abel) as it aired. I remember having to wake up very early—around 5:30 or 6am on weekends. I don’t think about it very often, but in hindsight, the show was likely very formative for me, and I wouldn’t be surprised if Daisy (the girl in blue armor) ended up influencing my taste in characters.
My family also subscribed to Nintendo Power, and we received a free copy of Dragon Warrior (aka the first Dragon Quest) as a result. Today, RPGs are a popular and beloved genre of video game, but back then, they were entirely new territory to most kids, and pretty unapproachable. However, the same relative who brought home DBZ tapes had decided that they were going to beat Dragon Warrior, and spent hours getting through the game as a young me would watch along. In the final battle, the evil Dragonlord reveals his true form as a giant bipedal dragon, and I remember just being in awe.
This was at a time when the Super NES had already come out, and I thought the Dragonlord looked almost on par with the graphics I saw there. The fact that his foot covered part of the dialogue box, and the way the screen froze instead of shaking every time he landed a blow made it feel like this was the ultimate adversary. It wasn’t until at least a decade later that I got to see Toriyama’s drawing of the Dragonlord that I realized just how closely the sprite graphic matched his original art, and I appreciated that memory all the more.
If Dragon Warrior was the game that pushed the boundaries of what an NES game could look like, then Chrono Trigger was a revelation. The 16-bit graphics and the greater color palette of the Super NES really brought Toriyama’s designs to life, and the game conveyed an intensity to RPG battles unlike any I’d seen up to that point. The only thing they paled in comparison to was Toriyama’s actual drawings of Chrono, Frog, Magus, and the others. While Chrono very obviously looked like a redheaded Goku, he was still unbelievably cool. And just as the Dragonlord was a mindblowing antagonist, so too was Lavos. The eeriness of music and visuals in the climactic confrontation with him is hard to match even to this day.
Years down the line, Dragon Warrior finally became known as Dragon Quest just like in Japan, and I was one of the folks who bought Dragon Quest VIII. It wound up being one of my favorite RPGs ever. In addition to its classic feel (Dragon Quest is famous for not trying to reinvent the wheel), the game really felt like stepping into the world of Toriyama’s art. It was a triumph of the PlayStation 2, but also a treat for those who always wanted to see an interactive environment that embodied his imagination and aesthetic.
A Farewell
Toriyama Akira’s life was a spark that inspired creators to bring their ideas to life, bridged culture gaps through the sheer power of his work, and even pushed people to exercise and train so that they could be like Goku. His name is synonymous with anime, manga, video games, and even indirectly light novels. And while I can’t call myself the most diehard Toriyama fan, he clearly took my life on a course that would embrace the wonders of Japanese popular culture—a path I still pursue to this day. Rest well, King. To say you deserve all your praise and accolades is the understatement of a lifetime.
Spotted Flower has a voiced manga version now! …Unfortunately, I can’t seem to register for the site no matter how many times I try. If anyone has better luck, let me know!
Kio decided to try drawing with a physical pencil again, but it’s a lot more difficult than he remembers. He feels like he’s gotten too used to drawing digitally.
Kio left a comment on the A-Koe page for the Spotted Flower voice comic, talking about how shocked he was to hear the spicy lines he wrote being brought to life. He wonders how powerful it’d be if it were ever animated.
Kio Shimoku just released a set of Genshiken LINE stickers! Best of all, they’re available outside of Japan (unlike so many others).
He recently went through a process of deciding which lines from the manga to include, and had even asked fans for suggestions. All of them are from the original series, rather than Nidaime.
Interestingly, rather than just using his old art, Kio actually drew them anew:
Note that there are certain words that have been censored, I assume to conform to LINE’s policies.
Do you have any favorite stickers? Naturally, mine are all the Ogiue ones.
It’s February, which means the day everyone with romance in their hearts looks forward to.
That’s right: It’s new Precure anime time. And with Precure Full Bloom and Soarin’ Sky Precure finished, I’m hoping to have reviews of both series done this month.
Of course, the must-watch show for me this season is Bang Brave Bang Bravern. The culture clash between a very super robot and a gritty realistic world is hilarious, and I want to see where it all goes.
This month is also a momentous time for two of my favorite VTubers. La+ Darknesss, fresh off a new outfit reveal, will be having her first solo concert. It’s sponsored by Nissin UFO yakisoba, of all things. Meanwhile, Hakos Baelz will be celebrating her February 29 birthday with streams every day (and hopefully won’t collapse from overwork). After the string of unfortunate VTuber events recently, I am looking forward to some fun times.
Kio discovers late that there was a Sayonara Zetsubou Sensei talk event and exhibition featuring the anime’s voice actors as well as the author Kumeta Kouji. Tsuchiyan, a person involved with Sayonara Zetsubou Sensei’s manuscripts replies to Kio and thanks him. Apparently they’ve met before, back when stuff was original airing.
Kio enjoys a Sayonara Zetsubou Sensei afternoon movie, and plans to watch the evening one as well. (I think this has to do with the SZS exhibit mentioned above?)
A person who is staff for anime radio shows realizes Kio follows her, and gets excited. They’re a big fan of Genshiken. Kio replies that he followed her on Twitter to make sure he doesn’t miss another event like the SZS stuff.
Kio’s ideas for most of the Genshiken LINE stickers, with him asking for suggestions. I asked him if he was planning on having them available internationally, but he said he didn’t even know that was possible.
Kio drew the belly band art for Volume 2 of the manga Oshibana. He’s a fan and retweets the author Shima Tokio’s work quite often. Shima thanks Kio, and Kio mentions really liking the main heroine and wanting to draw her.
Kio got the new Panpanya manga collection, titled Yuriika. He wasn’t able to read the comics in it when they were first being published, but he still take his time and get through them now.
I mentioned having some fun surprises last month, and I let the cat out of the bag on Twitter a few days ago: I attended Comic Market for the first time!
While I don’t have a schedule fully planned out, you can expect the next couple months to have at least a few blog posts about my experience at Comiket, as well as other bits of my trip to Japan. I’m actually a bit worried about them overshadowing other topics, including the new anime season, but hopefully it’ll all work out.
May the Year of the Dragon bring fortune to everyone, but especially my Patreon subscribers:
I did experience the earthquake that hit Ishikawa Prefecture, but fortunately only from a great distance. I know there have been some tragic losses, but I hope everything gets up and running for those most affected.
Halfway through Elden Ring. Kio thinks the game is amazing because when you first start out, becoming the Elden Lord seems unthinkable, but as you progress, the notion starts to feel real.
With his work for Rakuen magazine out of the way, Kio concentrates on trying to finish his ero manga manuscript. He originally wanted to get it done and ready to sell by the end of the year.
Kio finally finished the manuscript for his next erotic work, and it turned out to be a whopping 134 pages. Someone likens his output to Ogiue’s, which Kio denies.
Whenever Kio listens to the boss music from the Elden Ring soundtrack, he feels like he makes good progress while working on manga. He’s also 50% through the story but hasn’t fought a lot of the second-half bosses yet.
Kio saw the Japanese animated film TheImaginary, which exceeded his expectations. He couldn’t help but view Rudger and Tot through the eyes of a parent.
There are some surprises with Rudger’s voice, as the character seems to change gender in the movie. [Note: I’m not familiar with the film myself]
Kio talks about the fact that he’s been using Twitter for a few years now, and if it were to go away, he’d probably return to having no internet presence. He also calls “X” a stranger/kid he doesn’t know.
Kio bought a copy of It’s All Your Fault, Sensei. While he normally skips straight to the action, this time, he watched the whole thing and enjoyed it.
He mentions that there are certain limitations to showing internal climaxes in live-action stuff compared to manga.
The Kuma Miko manga is ending, and Kio gives his thoughts. It’s a series where after every chapter is over, he feels a need to express something difficult to say. He’s not sure how he’s going to feel after it concludes, given how many laughs he’s gotten out of the series.
Kio realizes he’s been mixing up the Bastole and the Botune Aura Battlers from Dunbine, despite having both model kits as a kid. He’s not the only one either.
I recently read the book Quarterlife: The Search for Self in Early Adulthood by therapist Satya Doyle Byock, which talks about the concept of the “quarterlife crisis.” According to Doyle, it is when someone in early adulthood feels a sense of dissatisfaction from a certain imbalance—in the pursuit of either meaning or stability, the other is never developed. People typically tend toward one side, and if they fail to teach a degree of balance, it can eventually turn into a midlife crisis. While the book is primarily aimed towards actual flesh-and-blood people, that struggle between meaning and stability also made me think of the hero of a current popular manga: Denji from Chainsaw Man.
From the start, what we know of Denji is that he basically has nothing, and even his highest aspirations come from scarcity: He wants to eat jam on toast, and he wants to touch a boob. While he comes across as shallow and horny (and he is both), this is Denji seeking the stability he’s never had, symbolized in the freedom to eat whatever he wants and to be with a girl. Thanks to his Chainsaw Devil powers, he starts to get that life, but it’s also clear that things aren’t hitting quite right. “This isn’t what I expected it to be” is a common thought by Denji, as if all that stability brings him is a search for meaning.
However, when Denji pursues meaning, including embracing the public image of Chainsaw Man as a dark hero, he instead starts to wonder, “Is this really all there is?” The comfort of stability calls to him—a life where he doesn’t have to be Chainsaw Man anymore. Even as others try to force a sense of meaning onto Denji, he resists because he’s trying to see how he really feels.
This vacillating between stability and meaning occurs across Part 1 of the manga. It also extends into Part 2, where I find Denji’s to be even more intense. The addition of the character Nayuta shows a side of him we had only barely glimpsed before—now a big brother/dad of sorts, he tries to provide for her a comfortable life full of opportunities that he himself never had. My heart actually feels joy when I see Nayuta take after Denji’s odd mannerisms, or when she enthusiastically and aggressively participates in class. I suspect there might be an answer for him in their relationship.
Denji is not an “early adult,” but rather a teen. What he experiences is not that period in which society tells us that people are supposed to be in their prime. However, I do think Denji’s plight in this area is part of why Chainsaw Man has been such a phenomenon. The typical shounen hero does not have anything resembling a quarterlife crisis. They usually have an ambition that drives them, and is the presumed end goal of the story. The fact that Denji struggles as much as he does, on top of being both vapid and profound at once, is eminently relatable.
Of course, I highly doubt that the author Fujimoto has been thinking specifically of quarterlife crisis. Even if he was, there’s a good chance Denji just ends up in a worse place by the end. But I now see a painful and at times conflicting search for meaning and stability that is ever present in Chainsaw Man, and I think it gives the series a powerfully profound psychological quality absent in so many of its peers.
Whenever I get around to December, I begin to think about my annual tradition, where I post about my favorite characters of the year. I’ve had one in mind all year long, but there’s another who’s a bit of a late entry of sorts.
I’ve also been enjoying the heck out of the holoX 2nd Anniversary streams, especially La+’s (naturally). I highly recommend them all, but want to draw particular attention to La+’s performance with HimeHina.
Happy holidays to all my Patreon subscribers for December:
OGIUE MANIAX 