Category Archives: manga

Postignorism

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I like the postmodernist idea that when given a work of art,  fiction or anything with any degree of abstraction, everyone interprets it and enjoys it their own way. The artists have power but so does the audience. That said however, I do feel that there is a distinct danger in becoming too wrapped up in your own interpretation, particularly at the expense of what is actually there.

In the case of anime fandom, this often takes the form of watching something through the lens of esoteric criteria such as a set of rules for enjoying (or not enjoying) a series established by a fan community for a fan community. It’s okay to watch Inuyasha because you really like Sango, but it’s another matter entirely to judge a given episode’s merit almost entirely on percentage of Sango content or that the series would be objectively improved by more Sango screen time. Shipping can often become a similar beast. Having a favorite pairing is very reasonable even in series without a hint of romance, but the game changes when a series’ ability to provide ammo for that specific coupling is considered the most vital criteria of success.

There is a delicate balance in terms of arguing for the sake of the creator vs the sake of the audience. It may sound like I’m faulting the viewers for not going along with what the creators have laid out, but I understand that creators are not infallible gods even when it comes to their own works, and what they think happens in their own story can play out very differently on the page and screen. I encourage people to really understand their own tastes and to not treat their personal criteria as frivolous, but at the same time if your rubric for enjoyment is too narrow, then it starts to reach a point where what you’re demanding from a work of fiction is that it caters to you, even at the expense of the work itself. On some level it’s not even about like or dislike, good or bad, but rather making an opinion on what’s there rather than what doesn’t exist.

I want to emphasize that I’m not trying to tell people they need to enjoy their shows a certain way, as I don’t believe in that. However, what I do believe in is having some sense of how you approach fiction and to acknowledge the whole of the work when thinking about it, and then taking steps from there to express your mode of enjoyment. Indulging your fantasy is okay as long as you don’t confuse it for the “reality” of the story. If you’re going to be ignoring an aspect of a work, at least be somewhat aware that you’re ignoring it.

What is the Most Moe Kickboxing Tournament?

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K-On! World Grand Prix

Now It’s Partially for Consistency’s Sake

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Back in 2007 when I first posted about  Mousou Shoujo Otakukei (aka Fujoshi Rumi), I complained about how the price difference between buying the Japanese language version from a Japanese bookstore was nearly at the point where it wasn’t actually worth it. At that point, it was about $8 or $9, very close to the typical $10 price of an English-translated manga.

Now it’s 2010 and six volumes in the problem is bigger than ever. Stopping by Kinokuniya the other day, the price for the current volume is about $10.50, compared to the English releases’ $12 per volume. What makes this sting extra hard is that the death of Asahiya last year means Kinokuniya basically has no competition and can sell its Japanese-language manga whatever price it wishes. Granted there’s Bookoff for low-price manga, but that consists entirely of used books, and I have this strange feeling I’m the only person in New York City buying Mousou Shoujo.

At this point you may be wondering why I’ve stuck with the series even after I said “meh” to its Volume 1, aside from keeping up with the Fujoshi Files. Well, after having read further, I realized that it’s not until Volume 2 that the series and its characters really begin to find their voices. It’s a fun series with nice developments, and I’m eager to see what happens next. Though out of all the fujoshi-themed manga I’ve read so far, I think I like Fujoshissu! best.

There Are Two Kinds of People in This World: Winners and Trolleys

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In Anime World Order’s look back at the previous decade of anime, guest Matt Alt talks about how the true successor to giant robot anime isn’t current giant robot anime, instead bestowing that title to those shows which spawn trading cards and games revolving around collecting. Essentially, the true spirit of super robots lies not in the continuation of the aesthetics of giant robot anime, but rather in their ability to push merchandise.

Considering this point, I can only think about how much more today’s anime for boys fosters a sense of competition, with trading card games and the like being at the center of children’s entertainment. The kids don’t have to be competitive “high-level” players, and they don’t even have to necessarily know the rules, and I still think these games, even if their shows talk about friendship and honor, still push the theme of competition more than anything else. Just the fact that there are  specific rules and stats and points means that, in a given activity, there will be winners and losers, even if it’s just cheap plastic being spun in an enclosed space. In contrast, that’s not really possible when you just have toy robots and the like. You can perhaps beat your friends by collecting more toys than them, or even create arbitrary rules of competition or even create fake competitions between your toys as Cobra Commander attacks with his vicious horde of My Little Ponies, but at the end of the day there’s no definitive way to become King of Make-Believe.


Well, almost no way.

This in turn got me thinking about the anime fandom and how we have figured out ways to compete via anime. The act of watching cartoons is not really an area in which you can determine winners and losers (unless you say that we’re all losers), so the community instead focuses their competitive spirits towards anime-related activities such as making music videos and cosplaying. These competitions are far more subjective in their criteria and human judgment is paramount in determining winners, but all the same we have taken a relatively passive activity and found ways to test our abilities against others.

I don’t really have a grand point I’m trying to reach, as I’m just laying down some thoughts. But be it through subjective judging or concrete goals, I don’t think an increase in competitive spirit is really a bad thing. That said, it can be taken too far.

I Thought We Liked Mahjong Series!

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While Akagi and Saki were probably a lot of people’s introduction to the notion of manga based on the game mahjong, I don’t think I’m alone when I say that my first introduction to “mahjong manga” was from Frederik L. Schodt’s seminal book Manga! Manga! The World of Japanese Comics.

In it, Schodt explores the burgeoning genre and talks about popular titles such as Mahjong Houroki (“Tales of a Wandering Mahjong Player”) and Jigoku Mahjong (“Mahjong Hell”), even citing the author of Mahjong Houroki, Kitano Eimei, as the sort of “father” of mahjong manga, who showed that a comic about dealing tiles could look and feel exciting.

Truth be told, while I was fascinated by the idea of mahjong manga back when I first read Manga! Manga! ten years ago, I am not so different than the people who discovered it through Akagi, as that was the first mahjong series which I actually had the privilege to see. And while I don’t expect mahjong manga to become a runaway success in even the scanlation community, it’s clear that it has its devoted followers.

Here’s the odd thing though: Where are the scans of Mahjong Hourouki? If Akagi and Saki have resulted in people from all over the fandom getting into mahjong even at a periphery level, why hasn’t anyone bothered to look into these significant works which established the genre that so many are enjoying now? And it can’t really be the case where fans of these newer series might not like the older series due to the artwork. After all, we’re talking about Akagi fans here, and I’ve never seen anyone proclaim, “If the characters don’t have ultra pointy faces and noses and everyone looks shocked all the time, then I refuse to read it!” And I see you considering making a comment where you reiterate what I just said. I’m watching you.

Oh, and of course the reason I’m talking about it in the realm of scanlations and such is that no sane company would license a mahjong series in the United States. The closest you’d get to one that could conceivably do well is Saki which is streamed on Crunchyroll, and even that is a bit of a stretch when you consider the not-internet.

The most likely culprit is probably scarcity. It’s no doubt difficult to find these old series in the first place, especially with a niche genre like mahjong. And I’m as guilty of not contributing to the pursuit as any other. This is the first post I’ve made about it, and it’s only because I was re-reading Schodt’s book today. But still, I’m making the call out. We have to find these old works, titles like Mahjong Fuunroku (“Mahjong Crises”) and Gambler no Uta (“The Son of the Gambler”), and bring them to the forefront of consciousness.

True Honorable Spirit in 30 Minutes or Less

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Over the years, I’ve probably gotten too much exposure to kids’ entertainment from both Japan and America. Because of that, as well as an idle comment made by someone I was talking, to I was recently thinking about portrayals of Japanese/American relations in each respective country’s cartoons and comics, and how interestingly they mirror each other.

In anime and manga, when an American character meets the primarily Japanese main characters, what almost inevitably ends up happening, especially if the American ends up being a friend or ally, is that he is able to understand the “true Japanese spirit” after his fateful encounter. Usually it’ll have to do with the determination and willpower of the Japanese, as well as just how much they can overcome in the face of superior forces.

But in American cartoons and comics, when a Japanese character appears, he almost always emphasizes honor. Honor is the most important quality in a Japanese character in an American cartoon, and there is always a point in the show, typically towards the end, where one or more American characters prove that they are truly honorable in the eyes of the Japanese character.

To some extent I think the American cartoon’s portrayal has to do with the mystifying image of the orient that has been a part of western fiction for centuries, while the Japanese cartoon’s portrayal supports the reassuring idea that, although Japanese people might not be the biggest or strongest, they can make up for that with intangible qualities. In either case however, this idea of winning over the foreigner and showing that, when you get down to it, respectable qualities remain very similar around the world, even if it’s portrayed through the lens of stereotypes and simple stories.

What do you think of this? Am I on the mark? Do you think things have changed significantly over the years so that this is no longer the case?

Female Characters in Shounen Fighting Series and the Meaning of “Strength”

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Sometimes when discussing shounen fighting series, there are disagreements among fans as to what female characters are considered “strong” and which are considered “weak.” Someone will accuse one female character of being “useless,” while another will point out all that she’s done to help the good guys, and that she’s strong in her own way. While opinions may be opinions, I think that the nature of shounen fighting series makes it difficult for those types of characters.

Hokuto no Ken is a classic example of a series with female characters who are “strong-but-not-really.” Mamiya is a skilled fighter and trains hard to keep up in a world of mutant thugs armed with only a crossbow and some yo-yo’s, but she’s still a few tiers below Kenshiro and Friends. Yuria has great will and even greater compassion, but she’s not a fighter at all, and in this series, as strong as Kenshiro’s own compassion is, fist to face action is at the forefront.

And as much as I like Hyuuga Hinata from Naruto, and as much as I think she is an excellent character, I know that she is not meant to be one of those female characters who is actually able to keep up with the guys when the chips are down. And in fact, as far as I can tell, despite the fact that Naruto is full of skilled kunoichi, there are only two or three female characters in that series who can actually fight on an even keel with the guys: Tsunade, Temari, and maybe Kurenai. Sakura definitely had the potential, and was supposed to end up as being super strong and super determined, but she too has fallen victim to the Shounen Side Heroine Syndrome.

But being physically weaker or lacking in skills compared to the main hero and the guys doesn’t mean a female character will necessarily be “weak.” Nami and Nico Robin from One Piece are both excellent examples of characters who carry their own weight. And even before Nami gets the Clima-Tact and starts participating in battles, her skills are shown to be indispensable to the team. Another good example of a female character who uses the skills that she has and contributes immensely to the overall cause is Tokine from Kekkaishi. Tokine, while not capable of as much sheer “brute strength” as her male counterpart Yoshimori, is able to use her finesse to not only match him but often outperform him.

“But wait, weren’t you the one who talked about how great it is when characters accomplish things at their own pace? Isn’t that one of the great appeals of moe? And aren’t you a supporter of moe?” And you would be right on that, but again I must say that it has to do with the fact that shounen fighting series inevitably revolve around fighting or at the very least getting characters to a point at which they can fight. Basically, the moe series will define strength within the context of their series as overcoming a small adversity which is difficult for them in particular, while a shounen fighting series is all about displays of strength, even if they are fueled by friendship and honor.

The big, essential difference between the Sakura/Mamiya group and the Nami/Tokine group is “results.” Both groups of female characters might not have as much raw skill or ability or training or whatever as the guys do, but one of those groups gets things done. Nami and Tokine don’t just contribute to the overall goal by doing something like blocking the villain’s attack just that one vital moment so that the hero can get in the final shot, but instead actually accomplish significant goals, things that can move the story along. It’s not even that they simply defeat opponents that the others cannot, but that they will do what it takes to win.

This doesn’t even necessarily apply to female characters. All you need to to do is take a look at Usopp from One Piece as a good example of a character who fights with what he has. It’s just that this is often the situation in which female characters find themselves, and often it’s done so that the guys can come in and go, “Stand aside, ladies. It’s MAN TIME.”

…Which is not necessarily a bad thing either, as having the men be strongest in a series for boys makes all sorts of sense. It’s just that if someone’s looking for female characters who really pull their weight to accomplish an overall goal, they may end up disappointed as a result. Though not a shounen fighting series, Legend of the Galactic Heroes can often seem like a sausage fest despite a plethora of genuinely well-written, strong, and clever female characters because of the fact that none of them are out there commanding ships and fleets, i.e. the very activity that is at the absolute forefront of LoGH.

Again, I like a lot of female characters who might not be the best or the strongest but try their best to do what they can even if they can’t keep up with the boys, characters who do things their own way at their own pace. However, even if a series actually says explicity, “This girl is truly strong because she really tried and her help, however small, was essential for victory,” within the context of shounen fighting “strength” is more defined by the overall setup and themes of the story, and rarely is any amount of lip-service enough to make the readers truly think otherwise.

Now It’s YOUR Turn to Survive a Deadly Game of Chicken

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For those of you who were regaled by my tales of exciting mahjong (as well as the tales of others) but were saddened by the fact that you yourself were not able to participate, fear not! There is a new opportunity for you (yes you!) to participate in a live session of Japanese-style “riichi” mahjong! Well, provided you live in the New York area.

This month’s “US Professional Mahjong League” meeting is Sunday, March 28, 2010 from 3-7pm. Address and further information are here. If you’re going, make sure to RSVP on the forums.

I’ll most likely be there, ready to lose.

Nonexistent Rationality

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In light of the Handley case’s conclusion and the recent measure in Tokyo to outlaw sexually provocative imagery of characters 18 and under to protect “nonexistent youths,” as well as the subsequent opposition by manga creators from all over Japan, I’ve felt an increasing desire to state my thoughts on the whole situation. I’m not really anybody who can affect a change, particularly when it comes to the Japanese government, but I still want to say my piece.

Before I begin, I want to explain my stance on objectionable art so that you can understand where I’m coming from. Ask two different people from similar upbringings to list their sexual kinks, and you would likely see differences in their answers. People’s sexualities are very personal things, and often times people cannot help what they are sexually attracted to. They can ignore it, they can actively avoid situations in which they are exposed to it, and being confused about their own sexuality can lead a person to think they’re into something they’re really not, but sexual attraction, to whatever it may be, will be there.

And so you’ll find situations where something one person finds sexually attractive will be absolutely repulsive and morally reprehensible to another. It is not absolutely not wrong for a person to feel disgusted with something that makes them highly uncomfortable, and it is their very right to think less of anyone who finds such a thing arousing. However, it is my belief that laws should not be passed based simply on the fact that something is seen as creepy or disgusting. Laws should not be carried by emotion alone. In order for it to be a crime, there should be a real risk of harm, be it physical, psychological, monetary, or some other form to another individual, something that makes it more than just a “bad feeling.”

With that in mind, I want to get into the main thrust of why this bill to protect “nonexistent youths” is so dangerous should it pass. Simply put, it is too broad in its scope and so vague in its language that it can encompass pretty much anything. It is based too much on vague “feelings” and is inherently flawed.

Pornography is one thing, but the proposal extends to all potentially sexually provocative portrayals of characters 18 and under. That covers a lot of ground. Let’s take a classic example of something easily sexualized which is also a part of everyday life: the short skirt. How short does it have to be in order to be considered sexually provocative? What is the threshold? Is it the standard length for a Japanese school uniform’s skirt? In that case, I don’t think I have to tell you that there is a sizable population that would disagree with that. In that case, let’s just get rid of all short skirts on minors in manga and anime. But even long dresses can be deemed sexually attractive, possibly more than short skirts, depending on the individual. The same thing applies to getting rid of dresses and skirts entirely and replacing them with pants. Forbid sexually provocative imagery? I can only believe that the people who drafted this proposal have no idea how powerful the human imagination can be, especially that of a horny teenager.

The teenager is also an important individual to consider with this proposal. The idea of removing fictional portrayals of people 18 and under that could be deemed sexually provocative feels like a myopic decision created in the world of adults. The proposal is there to prevent adults from looking at underage characters in a sexual manner, but not everybody reading manga is an adult. And while I know that it is difficult to determine age based on a drawing given the sheer unlimited possibilities that can occur when pen is put to paper and an image is created, let’s just assume for the sake of argument that we discovered a way to 100% accurately portray the age of a drawn character, that the 16-year old on the page is 16 years old. If you consider the reader to also be a 16-year old, then it would only make sense that they would be sexually attracted to that character, that a 16-year old can be sexually attractive at all. Yes, there is a risk involved with attracting people who are much older than teenagers, but if we were to apply that logic to the real world, to “existent youths,”  it would be as if teenagers were being told that they weren’t allowed to look attractive because there’s a risk people outside their age group might find them attractive as well, or saying that people 18 and under cannot look attractive at all. Again, when taken from a purely adult perspective, it’s easy to see why this would make sense, but not everyone in Japan is an adult, and not everyone reading manga is over the age of 18.

Taking a broad view of censorship, artists and creators will push the limits of censorship as far as they possibly can, no matter how strict or severe the censorship may be. Genitals are censored in Japanese pornography, but their porn industry has found a number of ways around the “mosaic.” Some companies push the limits of pixel size in the mosaic, boasting that their mosaics are extra small, while the very concept of bukkake possibly stems from the goal of showing evidence of the male genitals without actually displaying them. If a limit on skirt length really were to be decided and skirts were deemed “okay”  if they were less than 4 centimeters above the knees at most, then some manga creator or artist out there would make sure to point out that a girl’s skirt is 4.000001 cm above. It’s one thing to set a limit and say, “this is the point you must not cross,” but to try and prevent anything sexual from being portrayed in visual fiction is a losing battle forever thwarted by the endless creativity of artists.

Ogiue: The Bond Which Transcends Space and Time

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A few days ago while doing my routine “Ogiue” keyword check on Twitter, I noticed that someone had created an Ogiue Bot on Twitter which sends Ogiue catch phrases every so often into the wild.

The creator of the Ogiue Bot also has a Twitter account of his own, and unlike me and my shameful Avatar-based betrayal, he sports an Ogiue icon.

When I saw it, my first reaction was, “Ooh, that’s a nice Ogiue.” My second and more important reaction, however, was, “This looks oddly familiar.” After a bit of memory-jogging and browsing old sites, I realized just how familiar it really was. That Ogiue drawing up there is one of mine.

You may remember a few months back when Anime News Network got their current Answerman that I sent in an Answerfans response where I talked about my communications and befriending of Ogiue fans in Japan. The above oekaki is from that period.

I have to thank Soramugi, as I had all but forgotten that image, and I’m especially grateful to him for liking my drawing so much. It was kind of an unreal experience just seeing a drawing of mine being used like that, and I know Soramugi is just as surprised that he got to meet the artist behind his icon. He even posted about it! You can also see our correspondence, albeit in Japanese.

I’ve got a good feeling, the kind of feeling you get when you know you’ve earned a comrade.

As an aside, I thought it was pretty cool that I was actually able to recognize my own drawing style.