Category Archives: review

Tamako Market, the Never-Ending 12-Episode Anime

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Over the course of Tamako Market‘s run I noticed that it had a mixed reception, especially among Kyoto Animation fans. I may be mistaken as to how many people really disliked it, but I’ve seen enough to want to say something about it. As for myself, I had considered it an interesting and welcome step forward for the popular studio, and wondered what could be the source of this difference in opinion. After some conversations with friends, I think I’ve figured it out.

To put it simply, for the most part the girls of Tamako Market do not have, in their presentations, visual designs, or their personalities, the sort of near-tangible qualities that have made people in the past fall in love with Kyoani characters. The girls are comparatively less “moe,” and they certainly aren’t tragic, which leaves the show with a different sort of appeal that may seem alien to fans of Kyoto Animation’s existing body of work. The main character Tamako herself is simply a smart and capable but naive girl who loves mochi and who, to a small degree, reminds me of Madoka from Rinne no Lagrange. Dera the talking bird is as far from “cutesy girl” as one can possibly get, and seems to have been particularly unpopular. The main exception seems to be the carpentry girl Kanna (pictured above, left) whose eccentric personality, to be fair, does kind of steal the show.

(I’m fond of Shiori, the girl on the right, myself).

The best way I can describe Tamako Market‘s appeal is that it’s not so much about showing off an ensemble cast consisting of various characters with easily identifiable quirks like how K-On! is, but about showing the residents of the Usagiyama shopping district as a small community of people. While many of the side characters are never really developed, they don’t really need to be, as they add to the feeling of an oxymoronic slow-paced hustle. Seeing the small developments that occur in the residents’ lives feels not so much like “slice of life,” but like a low key-yet-silly comedy.

Someone asked me what anime out there was similar to Tamako Market. After some thought, I realized the answer: Sazae-san, a popular comedy anime about a Japanese housewife and her family, and which 1969 has continued to run on Japanese TV making it the longest-running anime ever. That’s probably the furthest answer from Haruhi possible, so I think that might say it all about how Tamako Market is different, and why I think it’s the sort of show that could’ve gone on forever.

Chop Chop Chop, Judo Flip: Genshiken II, Chapter 86

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Genshiken II, Chapter 86 looks to possibly be a turning point. We’ve had quite a few of those already though. Also, next month there might be more news about the upcoming anime! It’ll be a long 30 days or so.

Sue visits Hato’s place, using Janglish to ask if he likes Madarame. Hato denies, but is clearly hiding something. After a tussle pitting Hato’s judo training against Sue’s freestyle which ends in a win by submission for the American, Sue discovers Hato’s secret Mada x Hato (in drag) drawings. Hato, who is increasingly confused about his feelings for Madarame (he feels that at this rate he might actually start liking Madarame), decides to just stop crossdressing and go back to being “a normal otaku.” This clearly makes Yajima uncomfortable despite her previous objections to Hato’s crossdressing.

With this chapter, I think I finally understand one of the big overarcing themes of Genshiken II. Yes, there’s the generation gap and the otaku/fujoshi distinction, but even more fundamental to the manga is a concept I’d describe as “the complexities of personal perceptions.”

The foremost example is Hato. He is getting to the point where he likely feels something for Madarame. I want to point out, however, the fact that Hato had no problems showing his “Hato x Mada” art to Sue, declaring that it was just the realm of fiction, but for some reason he also felt it necessary to keep his “Mada x Hato” hidden. I think the distinction between the two pairings is extremely important because it indicates a denial of clear-cut narratives about sexuality in describing otaku.

“What’s fiction is fiction, and what’s real is real” is a clear and concise argument. So is “what you’re attracted to in fiction can influence your real life preferences (and vice versa).” The former argument is used by Hato, while the latter was suggested by Kaminaga. With Hato and his feeling towards Madarame, however, it might actually be the case that his yaoi delusions are separate from his real feelings, but he began developing feelings for Madarame anyway due to their growing friendship, and that this manifests as Hato x Mada vs. Mada x Hato. I wonder if this is the case just because Mada x Hato for some reason apparently has to involve Hato crossdressing, as if to say the idea does not “make sense” to him otherwise.

In anime and manga about (or including) fujoshi, often there is significant time spent explaining how important the orders of pairings are important. “It’s like saying ‘curry on rice.’ No one says ‘rice on curry!’ says a character from the 4-koma series Doroko. This is generally played for laughs while trying to introduce to the reader the “mysterious” mind of the fujoshi, to allow the reader to say, “Oh fujoshi, you’re so lovably wacky.” I think that with Genshiken, Kio is trying to discuss that mindset a little more seriously.

I predict Ogiue is going to start playing a bigger role in this, just because Hato looks like he’s trying to run away from his current situation at all costs. Ogiue is more than familiar with this situation, is aware of how much trying to deny oneself can generate a festering wound of self-loathing, and just how complicated the real/fiction distinction can get. I think, or perhaps I simply hope, that Ogiue will manage to be Hato’s mentor, like how Ohno was there for her. Also, Hato says he’s “going back” to being a normal otaku, but was he ever a normal otaku? He discovered yaoi in junior high, so it’s been with him for a long time, which makes me think that Hato is trying to simply act like how a “normal otaku” is supposed to without truly direct experience, somewhat like how Ogiue sometimes tried to approximate a “non-otaku.”

If the Hato example is a little too crazy, I think Yajima in this chapter also provides an interesting case of personal perception. Clearly the reason why Yajima blushes at the end is because she still associates male Hato with the time she accidentally saw him naked, in addition to just the fact that he’s a guy. She doesn’t react this way so much to Hato in her female guise, which means that the wig and dress is enough to “trick” Yajima psychologically so that the first thing she thinks about is Hato’s clean-shaven personal area. What Yajima thinks of Hato is of course its own puzzle having at its origin her own self-image and her lack of experience interacting with men.

I don’t know if Sue counts towards this as well, but I do find it interesting that Sue’s embarrassment over kissing Madarame has nothing to do with him and everything to do with the fact that Kasukabe saw her doing it. On some level, I feel like I can really understand that distinction. Somewhat like that famous scene in His and Her Circumstances when Miyazawa accidentally runs into Arima while out of her “perfect student” guise,” there are people you feel like you can be a fool around and people you don’t. I also continue to think that it’s kind of brave of Kio to give Sue a larger role, as semi-fluent foreigner is not the easiest thing to pull off without reverting to very basic stereotypes. Sue is many things, but “basic” isn’t one of them.

By the way, there’s something I find really impressive about Sue and Hato’s fight scene, particularly the panel where Hato drags her and sweeps the leg. It captures that one moment so incredibly well, while allowing it to transition into the next set of panels. It actually makes me want to see Kio draw an action series.

To end, I want to ask a simple question: Sue x Hato, what are your thoughts? If this were a more popular series, I’m sure that neck-licking thing would have people talking.

How Robotics;Notes Explores the Meanings of Giant Robots

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(Warning: This post contains spoilers.)

There are many interesting aspects about the anime Robotics;Notes, but one thing that’s particularly noteworthy is that it is a show about giant robots. That might not sound so impressive on its own, but it’s actually quite rare for a show to be “about” giant robots. Certainly, there are anime which include giant robots, anime which place giant robots in the spotlight, and giant robot anime which are driven by strong themes, all of which can be strong in their own rights. Where Robotics;Notes differs, however, is that it concerns the very thematic concept of giant robots, particularly what they mean to the people who watch and follow them.

Senomiya Akiho, Robotics Club President

In episode 1, we’re introduced to the Central Tanegashima High School Robotics Club and its president, Senomiya Akiho. An energetic girl, Akiho is an avid fan of giant robot anime, particularly the highly influential and hot-blooded series Gunvarrel. Akiho’s primary goal as Robotics Club president is to complete a 1:1 scale functioning robot replica of Gunvarrel called the Guntsuku-1, a task she inherited from her sister Misaki. Akiho, we are shown, has nowhere near the genius of her sister who designed the blueprints for Guntsuku-1 in the first place, and the enormous task before her sets up a couple of important questions. First, is Robotics;Notes the sort of anime that would, after deliberately pointing out how unfeasible it would be to replicate the design of an in-story fictional robot while also providing examples of “realistic” robots in society, allow Guntsuku-1 to be completed? Second, whether it ends up being finished or not, how prominently will Guntsuku-1 figure into the narrative? More specifically, will it actually somehow fulfill the role of a giant robot even with its various setbacks? These two mysteries work together to create a slow-burning sense of anticipation in Robotics;Notes which center upon the idea of “giant robots,” or more specifically the “giant robots of anime.”


Legendary anime Gunvarrel

The “high school kids in a club” setting is not new to anime, but because of its increasing prominence in recent years Robotics;Notes initially gives off the impression that it might stay primarily in the microcosm of the clubroom. Even when factoring in the fact that Robotics;Notes is from the same company which created Chaos;Head and Steins;Gate, two series with grander themes than K-On!, there still exists in the early episodes the possibility that the anime would focus on the everyday of the Robotics Club amidst this greater story, or at most show how small their world is by comparison. While the story of the Robotics Club does eventually begin to tie itself into a greater conspiracy and makes it clear that the show is not so limited in scope, even from the beginning Robotics;Notes creates a strong sense of connection between many of the characters and varying conceptions of robots. This in turn helps to establish that deeper thematic level of the meanings of giant robots.

Robotics Club members (left to right): Senomiya Akiho, Daitoku Junna, Koujiro Frau, Yashio Kaito, Hidaka Subaru

Going by just the club members, the male lead and childhood friend of Akiho, Yashio Kaito, is a slacker who primarily experiences giant robots through a fictional Virtual On-esque game called Kill-Ballad, which is itself inspired by Gunvarrel. The hikikomori fujoshi Koujiro Frau, turns out to be not only the creator of Kill-Ballad, but also the daughter of the producer of the original Gunvarrel anime, making Gunvarrel her tie to her missing mother. Hidaka Subaru, who initially refuses to join, is a champion of small-scale robot battle competitions who is forced to compete in secrecy because of his father’s disapproval. Daitoku Junna’s grandfather specializes in robotics, but an accident at a young age left her with a fear of robots. In each of these examples, Robotics;Notes in some way connects the theme of giant robots to other people.

The completed Guntsuku-1

There are two important developments about halfway through the series. First, the Robotics Club manages to complete Guntsuku-1, but it turns out to have accumulated over time so many compromises and shortcuts in its construction that the final product is a cumbersome and ugly-looking machine. Physically speaking, it is no more a robot than a golf cart with a head grafted on. Second, it is revealed that the final episode of Gunvarrel never aired because it was actually brainwashing propaganda (the broadcast of which was was stopped by Frau’s mother), which creates an extremely negative public opinion of Akiho’s beloved anime. Here, Akiho’s reactions to both events emphasizes the role of giant robots in her life, which in turn foregrounds how giant robots as a fictional concept can be interpreted.


The Gunvarrel conspiracy

In regards to Guntsuku-1 and its lackluster debut, Akiho specifically mentions that they are not abandoning Guntsuku-1. Rather, they are setting it aside so that they can come back to it later, which is indicative of Akiho’s belief in the spirit of the giant robot concept. Even as the Robotics Club moves onto working on a more realistic robot (the Guntsuku-2) for a robotics expo, Akiho not only makes sure not to forget Guntsuku-1, but her influence encourages the other club members to create an augmented reality modification so that people using a technological interface can view Guntsuku-2 as if it actually were Gunvarrel. Similarly, even when the horrible truth of Gunvarrel becomes known and people view it with disdain, Akiho resolves to still love Gunvarrel because she believes that her positive experiences with it trump whatever diabolical authorial intent may have been at the heart of it. At this point, it becomes increasingly clear that what is important to Akiho (and Robotic;Notes) is not the physical component of giant robots as massive titans of power but as symbols and icons of inspiration, existing in the hearts of those who love what it could be, instead of what it was supposed to be.


Akiho’s persistent spirit along with Guntsuku-2

Akiho embodies this “giant robot spirit.” Late in the series, when the conspiracy which underpins the series is in full swing, Akiho falls into a panicked depression, which comes as a shock to Kaito. Throughout the series, Kaito acts like a reluctant accomplice to Akiho’s madness, someone who follows only because he must. In this situation, however, Kai reveals that he was only able to act the role of the slacker because Akiho was there as his beacon of light, with enough motivation to carry the both of them. Kaito always saw in Akiho what Akiho sees in giant robots: something (or someone) who is not the most logical or rational but is an enduring source of motivation.

Guntsuku-1, revived

By the end of the series, the Robotics Club must stop the leader of the conspiracy and prevent the death of millions. In order to do so, they (along with their friends and family) repurpose the Guntsuku-1 using parts of Guntsuku-2, giving it functional modifications that they were simply unable to the first time. Appearance-wise, it’s still more or less the cumbersome hunk of metal it was before, but at this point in the story it’s clear that what makes Guntsuku-1 into a valiant giant robot just like Gunvarrel is not how closely it matches the original design but rather the intent of the people who support it. This includes not just the current Robotics Club and the people they know, but the people who worked on it throughout the years such as Akiho’s sister. As if to reinforce this point, when the antagonists view Guntsuku-1 through the technological interface of their own robot, all they can see is the actual Gunvarrel (via the same augmented reality image used for Guntsuku-2), complete with signature attacks.

The virtual image of Guntsuku-1

In describing Robotics;Notes as an anime about giant robots unlike so many others, this distinction mainly has to do with the fact that Robotics;Notes incorporates into its story how giant robots as cultural artifacts are received and interpreted by the people who engage with them. It is not the only anime to address this on some level, with Martian Successor Nadesico and the 2004 Tetsujin 28 being a couple of examples, but Robotics;Notes does so while putting into question throughout its narrative the very existence of its signature robot. It is not until the conceptual processes for conceiving the effects of “giant robots” are in place that Guntsuku-1 truly takes center stage, which in turn creates a unique and interesting position for Robotics;Notes. If one were to categorize Robotics;Notes, would it be considered a “giant robot anime?” The fact that this can be argued both ways is, rather than being a weakness of Robotics;Notes, one of its greatest strengths.

Dyuhuhu

Why the Little Sister is an “Osaka Mama” is a Little Sister

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Boku no Imouto wa “Osaka Okan”, or, My Little Sister is an “Osaka Mama” is an odd anime. Ostensibly about a younger sister who grew up in Osaka having to move back to Tokyo, this (sparsely animated) show is actually a way of showing various cultural differences between the two cities. It’s a funny little series, with the ever-changing ending theme based on the events of each episode being a highlight, but what I find especially funny about this anime is its origins.

Boku no Imouto wa Osaka Okan actually comes from a series of books designed to educate people about Osaka customs. The first book, Osaka Rules (as in “to live by,” not as in “Hulkamania”), is itself part of the Rules series for various parts of Japan. It was followed by Osaka Okan, which was designed to help people marrying into Osakan families to understand and deal with their in-laws better. What this means, then, is that the “little sister” component was added specifically for the anime, as if to try and capitalize on current otaku trends. I certainly can’t think of any other reason.

There’s something unbelievably shameless and perhaps even tongue-in-cheek about this that I can’t help but clap in admiration rather than hang my head in shame. Sure, little sister-focused stories are a dime a dozen in light novels, but what if the scope was widened in the way that Boku no Imouto wa “Osaka Okan” has shown us?

My Little Sister is a Forbes 100 CEO

My Little Sister is Doing a PhD on Molecular Biology

I Discovered My Little Sister is an Excellent Game Show Host

I Can’t Believe My Little Sister is the Catalyst for a Proletariat Uprising

The possibilities, as they say, are endless. I’m also aware that this sort of parody joke exists already, but I think the key difference is that the little sister component should appear deliberately grafted on, rather than being the axis upon which an anime revolves.


By the way, this show is from the gdgd Fairies people so you know it’s good.

Straight Title Robot Anime, or, MIKUBAIN: LET’S GET SILLY

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In a previous post, I had likened the bizarre 3dcg anime gdgd Fairies to an Adult Swim cartoon. I still think it’s an apt comparison, and with the new season currently running this only renews my confidence in that description, but what I hadn’t expected was for there to be another anime like gdgd Fairies, especially not one that’s themed around a giant robot future. This isn’t so surprising once you learn that it’s from the same creator as gdgd Fairies, but what’s impressive is that in some ways this new show’s humor is even more absurd.

Straight Title Robot Anime (yes, that’s the title) takes place in a time when humanity has gone extinct and only giant robots are left to fight an eternal war. Living on this Earth are three human-sized female robots who are trying to stop the war by re-discovering mankind’s great invention: humor. In order to accomplish this, they try to figure out what it means to tell a joke and induce laughter, but the concept is so foreign to them that they’re unable to make any headway.

In other words, this anime is actually all about trying to explain jokes, which is classically regarded as humor’s own kryptonite, but amazingly this just makes the whole premise funnier. It’s also animated entirely in the free program Miku Miku Dance, which was created for just the purpose its name implies (animating Hatsune Miku).

If it wasn’t obvious that this show is from the same mind as gdgd Fairies from, the fact that there’s an “improv” section similar to the fairies’ own “Magical Spring Dubbing Lake” should be more than sufficient evidence. In it, the three robots visit simulations of “ancient human locations,” such as a hardware store, and try to figure out uses for the objects found. I’m not sure how they accomplish these scenes, but I imagine it actually involves them gathering materials from those real-world places and then having the voice actors engage in prop comedy. Here, not only are the voice actors unable to keep up their acted roles and break down into their normal voices, but one character goes from having a very artificial BEEP BOOP I AM A ROBOT voice to having a natural cadence which not even an electronic voice distortion can fully hide.

Most telling of all is the fact that, despite the show being premised around the idea that the robots do not understand what it means to laugh, the robots in this sequence are giggling constantly. The narrator nonchalantly explains this as “interference,” invoking that old Mystery Science Theater 3000 mantra, “It’s just a show; I should really just relax.”

So that’s Straight Title Robot Anime. In my opinion, the humor isn’t quite to the level of gdgd Fairies yet, but its appeal is such that if you liked gdgd Fairies you’ll probably enjoy this too. However, if your only response to the fairies was revulsion then this show won’t help either. These really are both love it or hate it shows, as is evident from the comments both anime received. You can experience Straight Title Robot Anime, gdgd Fairies 2, and the angry comments these shows tend to get, on Crunchyroll.

One Piece’s Nico Robin Reviews Vividred Operation

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Tamako Market is Kyoto Animation’s Next Step

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In one of my earliest posts I ever wrote for Ogiue Maniax, I talked about my desire for Kyoto Animation to go beyond its own limits, to go from just adapting work to making their own original material. Though my opinion of Kyoto Animation isn’t quite as rosy as it was back in 2007, with their new original anime Tamako Market I actually feel like they’ve finally fulfilled those expectations to a fair degree.

Kyoani is known primarily for two things: really solid animation and cute girls. Together, the resulting product is a soft, delicate quality that is unmistakably Kyoto Animation (and which shows like Kokoro Connect and Sora no Woto have tried to mimic), and it affects different adaptations in different ways. For Haruhi and their Key game adaptations it lent weight and significance to characters’ movements, while in K-On! and Nichijou, two manga with sharp and abrupt humor, it caused the anime versions to slow down in terms of comic timing. In the end, it seems to all come down to the cute girls.

Tamako Market is the first Kyoto Animation show I’ve seen to really let the animators spread their wings. Tamako Market has allowed Kyoani to show personality through movement in a greater variety of character types of all shapes and sizes, from small children to geriatrics, to even a person of ambiguous gender and a silly talking bird. The show then places them in a deliberately slow-paced setting in the form of a small-town shopping area, which makes that Kyoani “slice of life” style feel appropriate. What’s more, even though there are indeed still cute girls in Tamako Market, all of the other characters are portrayed differently from them, giving the viewer not only Kyoani’s bread-and-butter but also something even more substantial.

Given the sheer amount of character variety in Tamako Market, I have to now wonder if it wasn’t just that their old shows didn’t allow them to “push their envelope,” but that having to adapt works limited them due to the contact of the original sources. Most of what Kyoto Animation has adapted has come from dating sims, light novels, which often times are all about cute girls, or manga which center around cute girls. While I think Kyoani isn’t ideal for making certain types of works, it’s clear to me from Tamako Market that their strengths, namely their ability to have characters move with almost a sense of tangible liveliness, go beyond what’s expected of them.

My Article on the Anime of 1977 at “The Golden Ani-Versary of Anime”

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The “Golden Ani-Versary of Anime” is a collaborative effort among bloggers, fans, and experts of anime to celebrate the 30th anniversary of anime on television. Coordinated by one Geoff Tebbetts, the plan is to have one article per year from 1963 and the debut of Tetsuwan Atom all the way up to 2012. I’ve included below an excerpt from my entry on the year 1977.

angie-predance

The year 1977 is something of a contradictory time in anime. Although the industry at this point was at the beginning of an animation boom and had been firmly established for over a decade, it can be difficult to pinpoint the exact level of experimentation vs. continuation of formulaic trends, simply because in many cases the individual works of 1977 featured both.

The ’70s were the golden age of giant robot anime, and with six super robot-themed anime debuting (as well as five holdovers from the previous year) 1977 was no exception to that trend. Somewhat unfortunately for the robot anime of that year, the legendary arrival of Mobile Suit Gundam in 1979 tends to overshadow them as a whole, but while nothing in 1977 broke the mold as Gundam would, there were a few series which pushed that mold to its very limits. These shows managed to convey new and interesting ideas while working well within established convention, an impressive feat in its own right.

Continue reading “1977: Conventions and Innovations”

1977-petiteangie3a

The Comedic Stylings of Five Legendary Warriors: Yes! Pretty Cure 5

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I was originally going to make my next Precure review about the recently-concluded Smile Precure!, but because of its many similarities to Yes! Pretty Cure 5 I thought it would be better to talk about that one first so that when I do get around to Smile you’ll know where I’m coming from. Do keep in mind that I haven’t seen the sequel, Yes! Pretty Cure 5 Go Go, all the way through yet, so this review is “incomplete” in that sense.

Yes! Pretty Cure 5 comes from the time when the official English still demanded that you refer to it as “Pretty Cure” in spite of the Japanese pronunciation, and it’s the first series in the franchise to step away from a pair oriented cast of main characters and do a full-on Sentai/Sailor Moon-style five-man team. As the story goes, one day an energetic girl named Yumehara Nozomi encounters a small mascot creature named Coco, a prince who asks her to become a legendary warrior and help restore his kingdom, which had been destroyed by an evil organization called “Nightmare.” Nozomi agrees and becomes Cure Dream, and is later joined by the athletic Natsuki Rin (Cure Rouge), the idol Kasugano Urara (Cure Lemonade), the gentle Akimoto Komachi (Cure Mint), and the intelligent Minazuki Karen (Cure Aqua), as well as Coco’s best friend and fellow prince, Nuts.

Out of all the Precure shows, Yes! Pretty Cure 5 ranks as one of the least visually impressive. Its animation is frequently awkward and off-model, and the transformed costume designs are awkward and unmemorable, but Yes! 5 is able to make up for those issues through really, really genuinely fun character interactions and antics. The five Cures all have dynamic characterizations, and seeing their personalities bounce off of each other is simply a joy. This even extends to the side characters, especially the school newspaper’s reporter, Masuko Mika (above), and her infectious Lois Lane/April O’Neil-like desire to get the scoop on the Cures.

Because of how entertaining the lunch-time and after-school banter can be, I sometimes refer to Yes! Pretty Cure 5 as the “Real K-ons, ” a comparison all the more appropriate because they girls are shown eating all the time. Four out of the five Cures have huge appetites and/or are obsessed with sweets, and the only one left out, Komachi, is the daughter of traditional Japanese candy maker. It makes for a show where just seeing the five girls hanging out at school is in many cases far more engaging than the action scenes, something which is often the opposite case when it comes to Precure.

That said, when the two halves of talky comedy and action come together, the result can be some incredibly solid episodes. My favorite example is when you find out that Rin (“the red flame of passion”) and Karen (“the blue spring spring of wisdom”) don’t get along quite as well as the others, but when a villain tries to use their lack of cooperation against them, it actually backfires: their rivalry ends up egging each of them on to perform even better, ironically improving their overall teamwork. Smile Precure! has a similar episode but the conclusion isn’t nearly as hilarious. Also, Cure Aqua takes a lot of her attacks from pro wrestling.

Speaking of the villains, Nightmare may be my favorite antagonist group in all of Precure because it actually runs itself like a corporation, albeit one inhabited by otherworldly monsters. You have the CEO, who can only be contacted through an intermediary. You have board meetings where the bad guys discuss their latest plans, end-of-year staff performance reviews, and of course promotions and demotions. For the most part the individual antagonists aren’t much to speak of, but there are a couple of notable exceptions, the aforementioned intermediary, Kawarino (think of him as the equivalent of Smile‘s Joker), and Bloody, a wizened veteran who attacks the Pretty Cures less through brute force and more through psychological manipulation.

Also of note is the fact that the mascots in the show, Coco (right) and Nuts, are the first in the franchise to be able to take human form, and in this case the two turn into handsome fellows. There’s a not-so-subtle undertone of Coco and Nozomi having feelings for each other, as well as Komachi and Nuts, but it remains just ambiguous enough that it needs to be inferred. Somewhat predictably, Pretty Cure 5 is the Precure most popular with fujoshi; if you ever wondered where Sayonara Zetsubou Sensei character Fujiyoshi Harumi’s favored pairing of “Pine x Napple” comes from, it’s a parody of Coco x Nuts.

Yes! Pretty Cure 5 is most certainly a show with its fair share of flaws, but also really noticeable strengths which make the show great to watch one episode at a time or in semi-large batches. The show’s antagonists make for a decent enough threat to motivate the story along, but the real fun is in seeing the antics of the five Cures, as the series does an excellent job of showing the main cast as friends who trust and love each other. Even more fortunate is that the direct sequel, Yes! Pretty Cure 5 Go Go seems to make up for a lot of the problems of its predecessor.

PS: Cure Rouge is one of my favorite Cures. Yes, more than Sunny. No, not nearly as much as Marine.

Drifting Clubroom: Genshiken II, Chapter 84

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Before we jump into the chapter, I have to make sure you’ve heard the news.

ATTENTION:

NEW GENSHIKEN ANIME!!

YOUR EYES DO NOT DECEIVE YOU

You’d think after the Madarame/Saki climax from a few chapters ago that Genshiken would let up for a while, but Chapter 84 is an intense one.  In the previous chapter, Madarame revealed that he was going to quit his job near the school (implying he would be unable to visit the college as often as he used to), despite Saki’s advice not to do so. As Madarame appears to feel increasingly alienated from the current club’s atmosphere (and Yoshitake tries to convert him to the church of BL), Hato is having trouble of his own as his emotions become a mystery to even himself. As Ogiue asks him to contribute to a “Tiger & Bonny” doujinshi, Hato begins to wonder about his relationship with Madarame, and the seeds of doubt Kaminaga placed in him about his heterosexuality begin to sprout.

Meanwhile, Sue of all people seems to have feelings for Madarame as well, though her character might mean it’s stranger (or simpler) than that.

I do not think that the change in demographic in Genshiken is the root cause per se for Madarame’s decision. Rather, my suspicion, based on my own experience, is that Madarame’s connection to the actual Genshiken as an on-campus club is starting to weaken. I had a similar group of nerd friends back in high school, and for the first three years after I graduated I would visit the school often to maintain that experience. Eventually, however, everyone who I even had a loose connection to graduated, and I lost any compelling reasons to continue. I’m still friends with a lot of the people I knew from that time, but our friendship has in a certain sense transcended the physical location, and I could see Madarame feeling like the clubroom itself is no longer that important.

That said, I’ve noticed, based on some of the response to the new Genshiken anime, that there are fair amount of readers both Japanese and non-Japanese who feel a bit alienated or even betrayed by Genshiken II, and I think Madarame is meant to embody that feeling to some extent, being the character who most embodies that classic otaku personality. Perhaps the deal with Madarame’s character is that he’s caught in a state of limbo, where he’s not yet fully integrated into adult living but at the same time his old haven away from reality, Genshiken, is starting to fade away.

The more that Genshiken focuses on Hato, the more I realize that he is probably the most psychologically complicated character in the entire manga (though I get the feeling that there’s something up with Nakajima that might be even more complex). Ogiue is one thing, as her story cuts to the bone, but Hato’s situation is such that you can’t even explain it as simply “he’s realizing he’s gay.” There’s a good chance that’s what’s happening, but based on the specifics of the chapter and of his history, doubting his own sexual orientation doesn’t seem to be the only thing going on.

In the chapter, Hato tries to shoo away the suggestions of his imaginary counterpart, only to have the female Hato replaced by Kaminaga, who echoes the real Kaminaga’s statement that the crossdressing likely facilitates the potential homosexuality of Hato. In that scene are a lot of things to take into consideration, starting with the fact that the Stand (i.e. Hato’s inner thoughts?) transforms specifically into Kaminaga. Based on previous chapters, it’s still not clear what his feelings towards her are. Does he want her? Does he want to be her? Does he perhaps desire both? Even the fact that the transition from Stand Hato to Kaminaga is a little hard to spot at first if you just skim through the chapter is indicative of the fact that Stand Hato continues to resemble Kaminaga, despite the fact that Hato has undergone an image change by semi-permanently switching to the shorter wig, as if to show that she specifically continues to influence him. It’s a weighty past and a convoluted present for Hato.

As for Sue, the easiest connection to make in regards to her blushing is the kiss she placed on Madarame’s cheek at the school festival as a sort of prank. Putting aside the notion of “Madarame: mack daddy of American fujoshi,” I’m starting to realize that Sue pretty much functions in Genshiken the same way the penguins do in Mawaru Penguindrum, bringing into the very foreground some of the “hidden” elements of the characters’ relationships at the time. I also think it’s quite appropriate for her to quote Dio Brando, and to have it be not one from the more popular Part 3 Stardust Crusaders story but from the original Phantom Blood.

There’s not much Ogiue this chapter, but there’s probably going to be another chapter at least partly focused around her soon, given the impending Comic Festival, though I imagine it won’t be until at least another three or four chapters.