Manga Box is a nice digital manga app for just checking out some strange and obscure titles. A lot of the titles on it are not especially experimental, and probably won’t be the next Attack on Titan, but often these works are short and fun. One of my favorite titles on Manga Box is Girl and Car on the Beat, and as the early issues of Manga Box gradually go away, I think it’d be a shame if more people didn’t read it. In fact most of the chapters are unavailable currently, and I regret not posting about this sooner.
Girl and Car on the Beat is about an old police car with the personality of a worn-out veteran and a rookie female officer who loves its rugged old appearance, and the humor in the series comes from the girl’s ridiculous enthusiasm for mundane aspects of police life juxtaposed with the police car’s “experience.” Though the car can’t “talk” the way K.I.T.T. would in Knight Rider, there’s still a strange and charming interaction between the two, especially because the girl is pretty much the only one left who has any respect for it. Each chapter is short, and at just 12 chapters total Girl and Car on the Beat is a quick read overall. It won’t blow any minds, and it’s not quite as hilarious as Rookie Female Police Officer Kiruko-san, but reading it is a nice way to spend an afternoon or a lunch break, and I think one of the better titles on Manga Box overall.
As part of a move to briefly revive some of their old and beloved properties, Bandai Namco commissioned a comic based on the old Wonder Momo franchise, which was subsequently adapted into a short anime. At five episodes total and seven minutes per episode, it’s not much of a time commitment so even though it didn’t impress me at first I decided to just watch through the whole thing.
Here’s my verdict: The show looks fine, the actors (aside from Akihabara idol legend Momoi Halko) are clearly inexperienced. Overall, Wonder Momo is like a 90s OVA adaptation of a 90s anime fanfic. Let me explain that last point.
In the 80s and 90s, anime had a curious reputation in the United States. Aside from the idea that it was mostly porn and gore, the fact that a lot of the anime that came out were more long commercials for existing manga or video games resulted in the notion that anime was big on visuals but short on narrative. Stories didn’t make sense (and I don’t meant that they were boring, I mean they felt like nonsense), series ended at odd moments, and details like “who are these people” were glossed over readily because they expected you the fan to fill in the blanks. The Wonder Momo anime feels very similar in this regard, in that everything is a bit rushed and there’s no real sense of conflict.
The other thing is that a lot of the humor feels like it came straight out of 90s US anime fandom, like someone had taken inspiration from all of those Ranma 1/2 fanfics of the era and said, “Yes! This is what comedy is, you bakas!!!” While the Wonder Momo anime is done in Japanese and so there’s no Janglish to speak of, it’s kind of surprising that it doesn’t devolve into a flurry of sweatdrops and chibis. I suspect it has to do with its webcomic source material, but I haven’t read enough of it to judge.
In a sense, Wonder Momo answers a long-standing question: what would it look like if the 90s US fandom’s idea of anime got made into an actual anime? In that regard, I find it to be more a proof-of-concept than anything else.
After being absent for many chapters, Yoshitake Risa makes her return. Having given up a potentially successful career in basketball to take the entrance exam for Shiiou University, she and her older sister Rika have a heart to heart talk the night before, which quickly turns extremely otaku. At the same time, Yajima, Hato, and Sue have their own conversation about the younger Yoshitake, based around the fact that part of her inspiration for trying to get into their university is Hato and his crossdressing. Despite waking up late, a freak snowstorm delays the test, and Risa manages to make it there on time and pass the test.
The title of this chapter, “Little Sister Entrance Exam II,” is a reference to when Sasahara’s sister Keiko tried to get into Shiiou University herself. She failed, though Risa appears to be a good deal sharper academically, which changes the result.
This month’s Genshiken, despite having a clear general focus on Risa and her test, is still surprisingly complex to the extent that I’m not sure if I can cover everything, though to be honest I rarely every do despite my attempts. There are three areas which I think are especially interesting, though, so I’ll focus on those. The first would be Risa’s relationship with Hato, or more specifically her image of him. An unabashed shotacon, Hato’s naked body is what made Risa realize that her interests could be fulfilled in the adult world. However, the fact that she sees Hato as a kind of real life version of her ideal male fantasy (she asks him to wear legs-exposing short pants if she passes, which over the course of the chapter degenerates into some kind of reverse-gender take on zettai ryouiki), clashes in an intriguing way with the developments we’ve seen Hato go through all this time. He’s gone through a period where he refused to wear women’s clothing, and then come back around as he’s accepted his own feelings for Madarame, and here Risa is projecting her own interests onto him. What was already a complicated situation continues to grow, and that’s not even mentioning Risa’s own gender-bending actions.
The second area would be the start of Hato’s “harem.” Recently, the focus of Genshiken has been the number of people interested in Madarame, which the series has been using to explore the idea of the harem manga by way of the otaku sensibilities of the Genshiken characters. In this chapter, we not only see once again that Yajima has feelings for Hato, but that there might also be something with Sue, and Risa expresses her own interests in Hato (even if they’re mixed up with her otaku fantasies). Then there’s also Konno the googly-eyed goddess, who doesn’t appear in this chapter. Suddenly the series isn’t about one man’s “harem” (even though the term is kind of bad for describing when two or more people like you), but two intersecting ones. Granted, Yajima’s fear of Sue seems fairly unfounded, and I think it’s meant to show more her concern over potentially being outclassed, as well as her realization that it’s getting harder for her to deny her own feelings for Hato when she references her and Risa as “rivals.” I also find it notable that Risa is the only one to state some sort of interest in Hato to him, instead of only confessing to friends.
The third area is of course the subject of the entrance exam itself. Rika’s advice to her little sister is this mix of big sister attitude and fellow understanding as an otaku. In particular, Risa struggles with whether it was okay to walk away from basketball on a whim, to which Rika essentially responds that being an otaku means living by your passions even if it means making seeming unreasonable choices. The idea is that otaku aren’t as able to stifle their interests in the hopes of integrating with the rest of the world, and Risa already has done a relatively bang-up job what with her successful high school life. Something about this really strikes a chord with me, probably because I know others who’d probably give the same advice, and it’s something I’d encourage as well. On the other hand, this advice can also be abused such that one might refuse to better oneself, but that’s the kind of risk that exists with this sort of philosophy.
One last note: Sue’s snow shenanigans at Madarame’s place make me think of her as a kindred spirit to Calvin from Calvin & Hobbes. Now that’s some crossover fanart I’d be interested in.
If you’ve watched all of Samurai Flamenco you’ll know that even though the show has humble beginnings and then progressively gets into increasingly more outlandish territory. It’s the kind of thing that you try to keep your mouth shut about so as not to spoil the uninitiated (by the way, SPOILER WARNING), partially because it’s obvious how intentional the whole thing has been.
The main character Masayoshi goes from tryng to be like a Kamen Rider-type to actually being a Kamen Rider-type, to being the leader of a Super Sentai team (with giant robot) and eventually even an Ultraman-style giant (and that’s not even mentioning the final genre shif at the end). The changes are so abrupt and swing so heavily from one thing to the next that I can only interpret the show as poking fun at the mid-season corporate meddling that can happen to a tokusatsu series and yet genuinely embrace it as a part of tokusatsu history.
I have to wonder, did Samurai Flamenco hint at this from the start? Perhaps Samumenco was always projecting an aura of neverending incongruities. Just think about the name “Samurai Flamenco.” What gimmicks or powers would a guy with a codename like that have? He’d maybe have some rhythm or dancing abilities (like Cure Lovely in Happiness Charge Precure) and probably a costume based more on a Japanese suit of armor. Real tokusatsu series do similar things, like how Ressha SentaiToQger currently features trains, and even the fake in-universe shows of Samurai Flamenco like Red Axe features… a guy with an axe. Samurai Flamenco, however, is neither Samurai nor Flamenco, and when he finally gets a set of effective weapons his gimmick of all things turns out to be “weaponized office supplies.” In that respect suddenly getting a giant robot that’s a mix of Combattler V and Dancougar isn’t so odd.
Perhaps Samurai Flamenco was always about the hodgepodge, the elements that don’t quite fit together so you have to smash them all in and enjoy what comes out. After all, it does start with a guy dressed like a superhero getting beat up by kids, who then forms a friendship with a cop where they sit around and watch children’s television.
!!!SPOILER WARNING!!! THIS POST ASSUMES YOU’VE SEEN ALL OF KILL LA KILL
Kill la Kill has been a fairly controversial show since its start. Back in the early episodes I remember seeing a great deal of questions suspicious of what I’d call the anime’s “integrity.” Does this story have any legs or is is just a random assortment of wacky and violent things? Is there a solid sense of character development at work, or is it all style and flash? Are the ridiculously skimpy outfits there to titillate or to make a point?
In other words, is the show smart or stupid?
For those who’ve watched through to the end, I think the answer is pretty clear: much like the question of whether Ryuko and Senketsu are human or clothing, Kill la Kill is neither smart nor stupid, yet it’s also smart and stupid.
I’m oversimplifying the point in the hope of expressing my thoughts succinctly, so let me elaborate.
A lot of features of Kill la Kill simultaneously buck and conform to convention. Traditionally, when we think of narrative in anime, we think of it as the visual style serving the plot, but in a lot of cases Kill la Kill shifts between which facet, narrative or style, takes priority, and sometimes they act as equals. In this last regard, I think one of the best moments to showcase this in Kill la Kill is Satsuki’s apology to Ryuko, where her characteristic blinding aura takes on new meaning.
Kill la Kill also encompasses both of anime-as-animation’s dual personas. Is anime a detailed and expressive medium which breathes life into its characters, or is it a series of creative money-saving cheats honed through decades to become a craft all of its own? In Kill la Kill, while it’s easy to tell which moments are which, often the scenes which exemplify the latter quality of anime are so smart and effective that I wouldn’t be surprised if people preferred them to be “static” shortcuts.
When it comes to anime and pop culture references, the series is rife with them. Yet, there’s no need to “get” them to enjoy the show, or to take meaning from it. I’m 90% sure that Ryuko and Senketsu’s decent to Earth is a reference to the ending to Zambot 3, only the show takes the extremely bittersweet conclusion of Zambot 3 and turns it into something more sweet than bitter.
(Pay attention to the last 6 minutes or so. Also, Zambot 3 spoilers of course).
What about the theme of clothing? Did it truly serve the show in the end? When Senketsu burns up in the atmosphere and tells Ryuko that all girls stop wearing their school uniforms eventually, while it doesn’t explain everything in the show, it does highlight one of the consistent themes of the series, which is that it’s about girls growing into women. The moments of embarrassment, the rebelliousness and desire to make up for lost time, there are a lot of different threads at work here (pardon the pun), which may not be entirely consistent, but it doesn’t feel like the ideas presented by the series are any lesser for that. Ryuko’s motto, that she’s all about not making sense, comes to the fore here. While what she says is true in a sense, her ability to embrace nonsense, to swing wildly in terms of her emotions, and to come to conclusions which are less about solving problems and more about coming to terms with things in ways which fit her, all of that has its own logic.
What works, works, and who’s to say anyone has to follow the template laid out for them? Though, even that isn’t wholly consistent because the “purpose” of Senketsu has a clear arc, at least in terms of utility. Of course, the real purpose of Senketsu was to bond with Ryuko in more ways than one.
As for one of the main controversies, that of the show’s depictions of female characters, I find that we’re left with a surprisingly complex situation as well. All of the major female characters in Kill la Kill are strong in significantly different ways, and they each bear their own distinct personalities and personas which celebrate their broad archetypes but also encourage viewers to think about those differences as more than just “uniqueness points.” Ryuko’s strength is her passion, Satsuki’s is her indomitable will, and Mako’s is her relentlessness. This extends to a certain degree to the rest of the cast as well, for both men and women, notably the Elite Four. With respect to the tendency for the series to dress its central characters up in absurdly revealing outfits, it’s a curious thing that often the way that Ryuko and Satsuki carry themselves drives attention away from their curves and towards their intensity. It’s not even entirely a matter of personality over looks, as Senketsu and Junketsu themselves also sometimes help to, in a somewhat contradictory fashion, put the focus on themselves and not on the bodies to which they’re clinging.
While I find that the initial criticism of Kill la Kill came from a place of fear (oh boy, it’s anime at it again!), I think those who were initially wary of Kill la Kill also had every right to be. There was no definitive sign that the differences and the “stupid” elements wouldn’t transform the show into an Ikkitousen or some other show where the girls are action figures placed into awkwardly sexual poses. There was no definitive sign that its setting would be any different from Baka and Test or any number of series where the idea of “high school” is pushed to the “extreme.” What Kill la Kill manages to do, however, is give these inclinations teeth. It shows that these tropes and “vapid elements” have more power in them than simply their ability to distract and excite, that they can be engaged and utilized to express something I would dare call truly artistic.
Sue’s moved in next to Hato and the awkwardness is palpable. The rest of the Genshiken girls pick their horses in the Madarame race: Yoshitake believes in Keiko x Mada, Yajima is for Hato x Mada, Ogiue supports Sue x Mada, and Ohno picks Angela x Mada. Meanwhile, Sue and Hato visit Madarame to take care of him while he’s still recovering from his illness. There, the harem-like scenario prompts Hato to make his intentions clear and obvious.
I find the discussion between the girls about who they think would work best with Madarame fascinating for a couple of reasons. First, you can tell that each girl’s pick has different degrees of idealism and pragmatism. Yajima and Ohno are kind of longshots because of gender and distance respectively, while Ogiue for example thinks Sue and Madarame are a good match and Yoshitake’s preference for Keiko, as she’s explained before, has to do with trying to keep all her friends. Second, I find that it calls back to one of the basic questions of Nidaime, which is what would this club be like if it were mostly girls? Here, we can see how the act of pairing common to female otaku extends beyond simply the realm of BL and into the possibility of heterosexual relationships as well. It’s also interesting seeing them blur that fantasy/reality line, especially with Yajima who digs Hato but is a sucker for the Hato x Mada pairing.
The main topic of the chapter, however, is the rivalry between Hato and Sue. Hato’s begun to make some serious moves, like learning how to cook better so that he doesn’t disappoint Madarame, dropping as many lines as he possibly can to make his feelings all but crystal clear (“I’d like to cook for you again, Madarame, but without Sue around”), and outright mentioning the “harem” atmosphere. Yet, Hato finds that he doesn’t mind being a part of this harem, something which I can only attribute to the very staticness that is at the core of harem manga as a genre. In this state, Hato gets to express his feelings without there being any commitment one way or another, allowing him to participate without the consequences of having “winners and losers.” In other words, Hato probably thinks this is the closest he’ll ever get to really being with Madarame.
If there’s one thing about this chapter that really stands out visually, it’s the intensity of the blushing. Sue, Hato, and Madarame seem to have this reciprocal relationship where when one person’s face turns red, the other’s goes one step further, like they’re having an arms race using their cheeks. The blushing possesses an almost three-dimensional quality, like it fills the very room I’m sitting in, and I can’t tell whether or not I should be blushing as well. I think the key to this is how Kio successfully communicates the escalating sense of embarrassment that the characters, especially Hato, experience in this chapter.
Seeing Sue go wide-eyed over Hato’s soup, for a brief moment, I thought Sue might actually start to fall in love with him instead. Of course, that’s not what happens, and instead you get this sort of grudging respect from Sue for Hato. As stated in the chapter, Sue mainly only eats convenience store bentou (I think the reference she makes in this episode is actually to Ben-To!), and while those things tend to be quite tasty (seriously, they’re really good), it doesn’t match up to the level of a proper home-cooked meal. As Sue becomes increasingly prominent in the manga, I wonder if she’ll begin to express self-doubts similar to Yajima’s to go with her perpetual shyness around Madarame.
Probably the most interesting topic in this chapter for me is the way Madarame feels that he simply cannot rely on harem anime and manga to navigate this situation. His reason is not simply that it’s unrealistic, but that the tendency for harems in shows to keep everyone at arms’ length so that everybody can be happy and the protagonist can have fun without any real repercussions doesn’t work when it comes to real people. Even indecisiveness has its consequences, and as we’ve seen already, it’s a topic where Madarame is surprisingly thoughtful.
Next chapter is the return of Yoshitake’s basketball-playing little sister of questionable tastes, Risa. I’m actually pretty excited, as I’ve been hoping for Kio to do more with her, especially because she had a few plot threads left from last time. There’s no telling if any of them will get resolved, but I’m just curious how she might factor into this whole complex relationship web, given that she also may or may not be interested in Hato.
One last thing: I can’t believe how good Ogiue looks in this chapter. I feel like Kio over the course of Nidaime has been working with somewhat unfamiliar territory when it comes to Ogiue’s character design. It’s substantially different from her old look, and I feel like he’s been gradually getting more comfortable with expressing Ogiue’s character as she currentlyexists in a way which properly captures where she’s been in the past and how she’s overcome all of that. In a way, she almost gives off a Kasukabe vibe, but in a way which is unmistakably Ogiue. The hoodie/dress shirt combination doesn’t hurt, either.
This post is about a week late to the “Kill la Kill episode 22 was awesome” meeting, but Kill la Kill episode 22 was awesome. As far as I’ve seen, this has been the general consensus among fans of the show, and it’s no surprise given the fact that many of the show’s narrative threads reached their turning points in this episode. While 22 was packed with a ton of impressive moments (like the Evangelion reference with Ryuuko hunched over and covered in blood like EVA-01), I’d like to talk about ones that I enjoyed in particular.
1) The Glory of Mako and More
The return of Fight Club Mako will forever be one of the glorious highlights of Kill la Kill, but in that triumphant return there is also a serious Ira x Mako moment. I’ve been a fan of that particular pairing and of course as the show has progressed it’s turned very real and I’ve enjoyed every minute of it. While people will talk about the fact that Gamagoori eats Mako-shaped croquettes in the episode as the Ira x Mako moment of the episode, I actually turn to Fight Club Mako’s appearance instead.
At the end of the episode, the heroes are attacked by a giant COVERS monster when out of a sky drops a dresser. As we know now, Mako in her banchou outfit is in there, but how does she introduce herself? Mako’s over-sized fist comes flying out of the dresser door and socks the giant monster, a feat of comedic spatial distortion the show normally associates with Gamagoori.
You can keep your croquettes.
2) Satsuki’s Radiance
In episode 22, Satsuki finally comes clean with her entire plan, and how she intended to use Ryuko as an x-factor in her rebellion against her mother’s global domination scheme, but realizes that manipulating others to serve her needs was the wrong way to go about it. Satsuki then apologies and takes a deep bow (the lower you go, the more humble and respectful you’re being, see Barack Obama), and then begins to emit a blinding light.
One of the visual icons of Satsuki throughout the series has been her literal radiance. When Satsuki appears, a blinding light shines forth from her, as if to say that she is simply that much more amazing than everyone else around her. It is as much a part of her character as her indomitable will and her giant eyebrows, but when you think about it, it hasn’t been around for quite a few episodes. To have the moment where Satsuki sets aside her pride also be the point at which she is at her most brilliant encapsulates the character so wonderfully that in an episode of great things it’s an absolute high-point.
In other words, to see the visual style of Kill la Kill match up so well with its narrative is just a rewarding experience.
I finished watching Sengoku Majin Goshogun recently. It’s notable for being an earlier work from the director of the early Pokemon anime, though overall it’s an okay show at best with a kickin’ rad opening. There are, however, a few things about the show that really stand out, and make the show fairly memorable.
Warning: Spoilers
Goshogun is abouta mecha-loving boy named Kenta who, along with the crew of the mighty robot Goshogun and their teleporting airship the Good Thunder, fight against an evil organization bent on world domination. While the episodes are often kind of bland and episodic, the ones which explore the pasts of the main characters tend to be quite interesting. It’s one thing when the lead pilot Shingo is a generic do-gooder type, but it’s another when you learn that his past was full of danger and tragedy and that he actively chooses to be the Good Guy in spite of all that.
Actually, the show in general has amusing characters. Remy Shimada is the fiery female character of the series, and while she often talks about not being able to get married and settled down due to her giant robot work, it’s clear that she doesn’t really mean it when she actively chose her path. The villain Prince Bundol is a handsome blond who plays classical music when he goes into battle and cherishes beauty so much that when someone tries to betray the heroes he dismisses the guy and doesn’t follow through on his tip because “betrayal is ugly.” One of the other villains, Kerunaguru (pictured above), a guy whose name basically means “Kick and Punch” and who owns a robot designed specifically to be beat in fits of anger. In one episode, he opens up his own fried chicken joint without any ulterior motives. The guy just wants to sell some good fried chicken on the side while assisting in global domination.
By far the most fascinating reveal of the show however is the secret behind Goshogun’s ultimate attack, the Go-Flasher Special. First, it answers what the “blue button” mentioned in the opening does. Second, as it turns out later in the series, the Go-Flasher works by allowing the normally non-sentient enemy mecha to gain self-will, which causes them to override their controls and then voluntarily explode because they don’t like being used for violence and evil. Basically Goshogun’s greatest weapon is to give the enemy robots an existential crisis which makes them commit suicide. Now that’s an attack.
Oddly enough, the best way to enjoy the character interactions of Goshogun is to watch the movie Goshogun: The Time Étranger, which curiously does not feature the robot at all.
Chapter 97 of Genshiken II has quite a few significant developments, but they appear almost when you least expect them.
Yoshitake and Yajima decide to check out Hato’s new apartment, which is closer to the university. As they relax together, Yoshitake persists in trying to get Yajima to make a move on Hato or at least do something. The conversation goes to the topic of Madarame (who’s been looking for a new job), who then turns out to have a cold, prompting a visit.
While Hato uses his spare key to check up on Madarame and returns it, Yoshitake finally gets Yajima to admit that she has some feelings for Hato. As they discuss the fact that there’s actually an open apartment in Madarame’s building, Sue pulls up in a moving truck revealing that she will be living next to Hato (edit: not Madarame like I previously thought) from now on.
I find this chapter fairly difficult to process because it progresses so deceptively. What appears to start out as a Hato-centric chapter slowly reveals itself to be actually more of a Yajima and Yoshitake story, while the idle chit chat of the beginning eventually transforms into probably the most serious conversation about sexual orientation seen thus far in Genshiken. This unusual pacing makes it so that when Yajima finally quietly and grudgingly admits that she has some feelings for Hato (“…I don’t not like him”), it’s so subtle yet upfront that at least for me personally it feels like there’s a delayed response, like I’ve been hit by Kenshiro and am just waiting for my head to explode once it fully processes all of the implications.
Yajima’s moment plays out in the page below, and just the juxtaposition between her face and Yoshitake’s delightfully beaming face over getting her friend to finally come out with what Yoshitake herself has known all along is probably the highlight of the chapter. I know that manga sometimes gets ragged on for focusing too much on faces and not trying to draw more anatomically realistic characters or backgrounds, and then that the common response is to whip out something with really nice rendered art like Berserk. However, I think it’s important to appreciate skillfull use of faces in terms of creating a strong sense of flow and composition, even when it’s just two panels.
There’s also this sense of a narrative passing of the baton as while Hato has come to accept his feelings for Madarame, now it’s Yajima’s turn for conflict and confusion. In Yajima’s case it has nothing to do with her own sexual orientation. Instead, as far as I can interpret things, it has a lot to do with her own poor self-image mixed with some guilt over how she’s treated Hato and the realization that Hato feels something for Madarame. More than her appearance or her fondness for Shounen Jump analogues, it’s moments like these, where Yajima diminishes the value of her own romantic affections in favor of what’s already where, that makes Yajima feel really and truly like an awkward otaku.
As an aside, as much as I like Kinnikuman myself, I’m always a little surprised to see it referenced so readily in anime and manga, a reminder of how popular and beloved it really is. In this case, it’s Yajima using the Hell’s Guillotine, a signature move of the villain Akuma Shogun when she retaliates against Yoshitake’s antics.
When Yoshitake discusses sexuality, she mentions the idea that the fujoshi fantasy world of BL pairings is far different from the reality of a homosexual relationship and that there are (social) challenges awaiting anyone who accepts being part of a sexual minority. Not only is this rather poignant and serious, but together with the fact that she considers the likely reality that someone is going to get hurt in this no matter what, this chapter really highlights the fact that Yoshitake really thinks a lot of her friends. That said, she also kind of brushes aside her high school friends in a comment to Yajima and Hato, thought I take that as her having different types of friendships with different people. Even her friendships with Yajima and Hato individually aren’t quite the same.
As for Sue, the comedy potential for her living next to Hato is obvious, but it casts an interesting context in retrospect on Sue’s appearance in Chapter 95. While Sue being surrounded by mountains of merchandise epitomizes her as a mighty otaku, it also gives off this stark image of loneliness and isolation, which might explain in part the decision to move.
The last thing I want to do is go back to the faces, because this chapter has some of the best I’ve ever seen in Genshiken. You can already see in the Yajima-Yoshitake image above. The series has always been pretty good with the expressions, especially with the old Ogiue’s intense glares and Yoshitake’s general aloofness, but I feel like they’re on a whole other level here.
Seeing this Ogiue face below fills me with a strange kind of glee. In it, she’s basically refusing to get anywhere near a beauty salon. It’s interesting but also completely in character for her to be especially uncomfortable going to that sort of place even though she’s become much more fashionable over time.
Back when JManga was still alive, Soredemo Machi ga Mawatteiru, aka And Yet the Town Moves, was one of its most popular titles. While that didn’t mean much in the grand scheme of things, it’s clear it did have at least something of a fanbase. When JManga went under, it was a big loss in my opinion, but fortunately Crunchyroll Manga has brought it back.
Soremachi (as it’s called by fans) is a manga ostensibly about a maid cafe, which is better described as “a coffee shop which happens to have maids.” Its main character is a teenage girl named Arashiyama Hotori who has a love of detective fiction and a knack for thinking outside the box but is otherwise dumb as bricks. The humor is clever and varied, and it shares a number of qualities with Yotsuba&.
As far as I can tell, it’s the exact same translation as the one that was on JManga. Also, though it doesn’t really matter that much, one casualty of the switch to Crunchyroll is the original Japanese version. JManga originally allowed readers to switch back and forth between English and Japanese text, and it was fun seeing what certain jokes or puns were originally. Hotori mishearing “calculus” as “calculator” was, in Japanese, confusing “bibun sekibun” (calculus) as “sebun irebun” (Seven-Eleven).
That said, I’m willing to make that “sacrifice” for Crunchyroll’s more sensible pricing structure.
OGIUE MANIAX 