The Relationship Between Classic Toei Heroines and Moe Characters

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Not too long ago I half-jokingly suggested that the first moe character was Hilda (pictured above), the heroine from the 1968 animated film Hols: Prince of the Sun. The basis of this was that Hilda was the creation of a young Takahata and Miyazaki, who would later go on to form Studio Ghibli, and if you’ve ever read Miyazaki’s recollection of his first time watching Legend of the White Serpent, you’ll not only see similarities between Hilda and Pai-Nan, the heroine of Legend of the White Serpent, but also between his reaction and the way fans of Key games talk about their beloved works: Miyazaki actually cried the whole night, and fell in love with Pai-Nan. Of course, if Pai-Nan had such an impression, then it’s possible to argue that she’s the first moe character, but regardless of what character has the distinction, I suspect that the tragic element which defines both of these characters also has an influence on the development of female characters in anime and manga, and by extension the idea of moe.

In the trailer to Hols: Prince of the Sun, Hilda is introduced, accompanied by on-screen text saying, “Am I a demon, or a human being?” This highlights the inner conflict of her character, as Hilda is both the sister of the main villain as well as the love interest of the hero. She plays both a romantic and an antagonistic role, and the fact that she struggles over which is her “true self” is the inherent tragedy of the character. Star-crossed lovers are nothing new to media, of course, but according to The Pretty Character Chronicles: The History of Animation Heroines, 1958-1999, the early Toei animated films, of which both Hols and Legend of the White Serpent are included (though these titles are themselves about a decade apart), often feature heroines who begin the movies as antagonists.

Pai-Nan doesn’t quite fit this concept, as she’s more of a tragically cursed character, a princess in need of rescue in the vein of  a classic Disney Princess. This makes a degree of sense, given that Toei’s goal was to try to be the “Disney of the East,” but when you look at heroines in classic Disney films, none of them fulfill the role that Hilda or other similar Toei heroines play as partial antagonists. In fact, if you look at Disney animated films as a whole, there’s pretty much only one character who does fit this bill: Megara from Hercules, a film from 1997. In other words, “damsel-in-distress” is not quite the function of these Toei heroines.

What relevance does this have to current anime and the presence of moe, then? My argument is that the tragedy component of heroines such as Hilda has been reduced or compacted to varying degrees, so when you have a character who has traits commonly considered moe, such as a character who suffers from being short in a slice-of-life comedy, what you’re seeing is an on-going series of tiny tragedies, like with Yuno in Hidamari Sketch. The tsundere, especially the more contemporary tsundere type, is another example, as a character who struggles with being true to her feelings can be considered tragic in her own way. Hidamari Sketch also provides one such character in the form of Natsume, whose feelings for the character Sae remain unrequited due to Natsume’s own stubbornness.

While I think the criticism of moe characters as feeding off the desire of men to want to rescue the poor female victim is valid to a good extent, I think that the quality which has transmitted itself from those early Toei days all the way to the current age is not so much that of the “helpless girl” but that of “helplessness.” A girl tragically trapped in a situation can be moe, but what’s considered even more moe is the heroine who can’t be helped no matter what. In such a case, powerlesssness becomes not so much the half-way point in an elaborate power fantasy, but the end point in and of itself, with the potential for empathy between not just the viewer and the hero, but the viewer and the heroine. Of course, that’s somewhat of an extreme case, and the end result really depends on how individual works wish to resolve the inner conflict of the descendants of the tragic antagonistic heroines.

Genshiken Second Season Anime Initial Thoughts

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The new Genshiken anime has begun airing, and with it comes not only a time skip over the conclusion to the original manga, but also a new cast of characters. Seeing as the anime is pretty much covering the manga panel-by-panel, and I’ve already reviewed the individual comic chapters along the way, there’s not much need for me to do a thorough analysis, but I do want to give some thoughts about the adaptation process at least. If you do want to see my thoughts on the events of episode 1 of Genshiken Second Season (or Genshiken Nidaime, or as I prefer to call it, Genshiken II), you can find them here and here.

By the way, the title of the first episode is a reference to the Japanese title for the Shinkai Makoto movie known in English as The Place Promised in Our Early Days.

While the anime is faithful to the manga so far, in watching the first episode I feel that the pacing of this newest anime is a good deal more frantic than what I’m used to seeing from Genshiken anime. While the series was never quite subdued moe comedy or Maria-sama ga Miteru levels of “slow,” there was always a kind of mellowness to them even in the sillier situations. Think of Saki talking to them about how Kohsaka (probably) watches anime while they’re having sex. The humor crescendoes, coming out gradually. With the new series, it feels like one gag after the other with little room to breathe in between.

The thing I’m not as sure about is to what degree this has to do with the adaptation itself by Production I.G. (and along with it the new voice actors), and to what degree this is because of the new cast of characters and their different personalities. Certainly as much as Madarame could get rather crazy in the old days, he’s no Yoshitake, whom Ogiue accurately describes as like Kuchiki, only with tact and sense. At the same time, I’ve re-read the manga recently and I didn’t get the impression that the pacing is different, even if some of the energy shown by its characters is.

If I had to pick out a major difference, I think it may have to do with the fact that the manga often presents varying pieces of information such as different dialogues and facial expressions at once, from panel to panel, while the anime presents the same stuff isolated from its connective moments. Of course, the fact that I’ve seen all of this already may also mean I’m more sensitive to this, and someone entirely unfamiliar with the new Genshiken might be taking in the crazy world of a girl-dominant Society for the Study of Modern Visual Culture first and foremost.

I do also want to say just a couple of things about the voice actors. First, although they’re fine (but will take some getting used to), I experience cognitive dissonance when hearing Yukana as Ohno. No matter what, I can’t shake Cure White from my head. The other thing is that, in addition to finding Yamamoto Nozomi’s Ogiue performance to be somewhat similar to Mizuhashi Kaori’s other non-Ogiue roles, her Ogiue is actually closer to how I first imagined the character’s voice back when she appeared in the manga. At the time, I heard her voice as just the tiniest bit high-pitched with an equally small amount of nasalness, which Yamamoto has.

Speaking of Ogiue, one thing that didn’t occur to me while watching but I realize may be an issue with the animated Nidaime is that, for someone who had stuck only to the anime adaptations previously, Ogiue’s character might come across as way different from what they remembered. Whereas the last time we left Ogiue she had a tendency to stare daggers into everyone she met, now she’s kind of good-natured and filled with a good deal more joy, and without the Karuizawa arc from the manga showing both what her traumas were and how she eventually overcame then, this contrast in her old and new personalities is potentially jarring.

Anyway, to end things off, here’s a fun comparison for Ogiue fans everywhere.

The Fujoshi Files 76: Masana

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Name: Masana (雅奈)
Alias: Masa-nee (雅姐）
Relationship Status: Dating
Origin: Fujoshi Kanojo.

Information:
Office lady, writes BL novels. Has obscure tastes and doesn’t like when things go mainstream. She particularly has a thing for yaoi stories about businessmen. Has an eye doctor boyfriend who is really into audio equipment, and is not very understanding of her fujoshi hobbies, creating a good deal of tension in their relationship. Good friends with Yuiko and Sacchin.

An older office lady, Masana (“Masa-nee” to her friends Yuiko and Sachi) is an author of BL novels. Interested especially in stories concerning businessmen, she has obscure tastes and does not enjoy genres as much when they become too mainstream. Masana dates an eye doctor who is not very understanding of her fujoshi hobbies, which creates a good deal of tension in their relationship, especially because he seems unable to see that his obsession with audio equipment is just as strong as Masana’s passion for yaoi.

Fujoshi Level:
In a fit of anger, Masana once wrote fanfiction of her boyfriend being the uke to the wires and cables of his own audio equipment.

NiGHTS into dreams… HD is my Wonder-Drug

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After much delay, I finally started playing NiGHTS into dreams… HD. I’ve never played too many games on my PC just because I didn’t even have a proper controller for a lot of the genres I normally play otherwise, but I decided to just go, “To hell with it” and purchase an X-Box 360 controller. I know I was hankering for some retro gaming when I decided to buy it in euros even though it’d cost me a little extra.

I’m not really going to review NiGHTS here just because the game has such a powerful reputation, a cult classic that all Sega Saturn owners either remember fondly or always pined after. It is indeed an exquisite game, especially in its visual presentation and its smooth controls, but what I’ve found upon returning to my old favorite is that the game occupies this strange space for me where it is both somehow therapeutic while at the same time motivating and challenging.

Actually, I will say one thing about the game: it doesn’t control quite like the original Sega Saturn NiGHTS, and while the difference isn’t huge, it’s still noticeable for someone like me who poured hours and hours and hours into the old one. Playing widescreen can also throw off my sense of timing because the camera changes at ever-so-slightly different points.

I’ve written previously about how a current hobby of mine, Japanese mahjong, is a combination of luck and deception, and is thus enormously nerve-wracking. NiGHTS isn’t this, but it also doesn’t feel “casual” or “mindless.” Rather, it’s a game with a simple, clear-cut goal (get the highest score while beating each stage and boss), but I always feel like the game is only as intense as I want it to be. Unlike another perennial favorite of mine, Pokemon, it also isn’t hampered by the permanence of decisions (can’t use your single-player team because it wasn’t EV-trained properly!!!) If I want to just enjoy the bright colors and scenery, I can. If I want to push myself to get as close to perfect as possible, I can. If I just want to fight the bosses over and over again (and I do love doing that), I actually can now, thanks to NiGHTS HD. I can kill Gulpo in 10 seconds.

That reminds me that, even back then, my biggest complaint about the game is that the bosses are simply too easy regardless of whether you’ve played the game a ton or not. It’s the one thing that I think the sequel, NiGHTS: Journey of Dreams, improved upon tremendously (except for that stupid and frustrating fight against Bomamba).

Gattai Girls 4: Aim for the Top! Gunbuster and Takaya Noriko

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Introduction: “Gattai Girls” is a series of posts dedicated to looking at giant robot anime featuring prominent female characters due to their relative rarity within that genre.

Here, “prominent” is primarily defined by two traits. First, the female character has to be either a main character (as opposed to a sidekick or support character), or she has to be in a role which distinguishes her. Second, the female character has to actually pilot a giant robot, preferrably the main giant robot of the series she’s in.

For example, Aim for the Top! would qualify because of Noriko (main character, pilots the most important mecha of her show), while Vision of Escaflowne would not, because Hitomi does not engage in any combat despite being a main character, nor would Full Metal Panic! because the most prominent robot pilot, Melissa Mao, is not prominent enough.

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It’s not uncommon for an anime to pay homage to its predecessors, but when the homage becomes a source of inspiration itself, then you have something special. That’s Aim for the Top! Gunbuster. The image of Gunbuster rising up from a ship with its arms crossed is especially famous, and for anyone to whom the phrase “female robot anime protagonist” is relevant, Takaya Noriko and the Gunbuster carry great significance. As I even use it in my introduction, it was only a matter of time before Gattai Girls got around to Aim for the Top!

In the future, mankind is under siege from massive alien creatures. In order to combat them, young cadets are recruited and trained so that they may travel through space and confront the aliens directly. One such pilot is Takaya Noriko, who appears to be lacking, but the school’s coach sees potential in her and makes her a candidate for mankind’s strongest weapon, the Gunbuster. As she trains alongside her “big sister,” a talented, beautiful, and hardworking upperclassman named Amano Kazumi, Noriko learns and matures. However, because battling the enemy requires faster-than-lightspeed travel, those who fight must live in a different time frame from those they care about.

First released in 1988, Aim for the Top! is in many ways an anime for anime fans, which should come as no surprise when considering that it’s an early Gainax production. Gainax is famous for being the anime studio created by fans, and when you look at this OVA series and even the fact that it bucks the trend by going for a fierce and powerful female protagonist in Noriko likely stems from these origins. The series fuses the melodramatic shoujo sports setting of the tennis manga Aim for the Ace! (of which the OVA is at first clearly a parody) with both the hot-blooded nature of the super robot genre and the devil-may-care atmosphere of Top Gun. One thing that strikes me about Aim for the Top! is that, even though it has its basis in shoujo, the character designs and overall art style are quite far-removed from Aim for the Ace! and really embodies that 80s look.

If I had to pick a more modern series with similar tendencies (aside from its sequel Aim for the Top 2!, of course), it would be Magical Girl Lyrical Nanoha and the way it takes the magical girl concept traditionally aimed towards girls and combines it with an almost mecha-like aesthetic for the enjoyment of male fans. Same goes for the treatment of male characters: like in Nanoha, guys are clearly less important, even to the point of being more plot devices than anything else.

The reason why I bring all of this up is because I can’t say that Takaya Noriko is intentionally a progressive character. Giant robots and cute girls are two popular tastes among otaku, and Noriko is a notable example of that. It also should be noted that Aim for the Top! is notorious for popularizing in anime the concept of incredibly jiggly breasts, the girls’ outfits emphasize their legs like crazy, and casual nudity is somewhat common in the series. Nevertheless, in some ways I would argue that there are very clear benefits to the fact that Noriko is a very strong female protagonist regardless of feminist intentions. Aim for the Top! asks, why can’t the girl be the lead? Why can’t she save the day? And why can’t she be the one yelling with fury at the top of her lungs as her robot plants the spiked treads on the bottom of its foot on alien creatures ten times its size and tears straight through them?

It’s not like Noriko at her core is a very original character. She’s not much different from her predecessor Hiromi in Aim for the Ace! (and Kazumi is still clearly based on Ochoufuujin from the same series), but just by shifting the activity and context, it changes the responsibility given to the lead character away from the relative safety of “sports as a female activity.” Where Hiromi learns to utilize a more “masculine” style of tennis which better suits her, Noriko ends up exceling in the traditionally masculine role of super robot pilot. In that capacity, “preventing the extinction of the entire human race” is a pretty big accomplishment.

I think the one thing which really captures Noriko’s appeal is her screaming. Noriko’s cry as she launches attacks is so distinct and memorable that, in terms of the ability to generate sheer excitement through her passion and intensity, she is possibly unmatched among female robot pilots in all of anime. By the end of the series, Noriko has more than proven herself as not only powerful in her own right, but a source of strength for others. Noriko’s strength is such that guys may not just want to be with her, but actually be her as well.

Humicane from Rotten Boy: Genshiken II, Chapter 89

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As Yoshitake pressures Yajima into potentially revealing that she has feelings for Hato, Kuchiki sees a distraught Hato committing the worst crime of ComiFes: not enjoying himself. In a rare moment of clarity and benevolence (albeit still horribly awkward), Kuchiki teaches Hato that worrying what other people think about you goes against the otaku way. Hato, who suspects that his interest in Madarame may be a matter of him being interested in Madarame in particular and not guys in general, suggests that he hook up with Angela (who is of course likely eager to do so).

This month’s Genshiken II, titled “Festival Evol,” is a reference to the anime Aquarion Evol, which is appropriate in a number of ways. First, Aquarion Evol is the next generation of characters after the original Genesis of Aquarion, which is similar to Nidaime. Second, in the final episode of Aquarion Evol (SPOILERS), the titular robot turns into “Aquarion LOVE,” which is of course one of the themes of Chapter 89. You could maybe read something into the separation between boys and girls in that series too, but that might be going too far. The next chapter preview quote is also from another robot anime, Chousoku Henkei Gyrozetter, so it’s a good month for mecha references.

I find this chapter to somehow be incredibly straightforward but also quite complicated in terms of its developments, so I’m not entirely sure how to approach it. I guess the first thing I’ll say is that, I do know from personal experience that sometimes you think you like someone more than you actually do. I’ve had cases where I was interested in girls, and when they got significant others, my feelings were not jealousy or regret or forlorn heartbreak, but simply satisfaction and relief. In those cases, “what could have been” doesn’t really enter the equation, a personal realization that my own feelings weren’t that strong after all. Is this the case with Hato and his feelings towards Madarame? Something tells me “no,” if only because it only seems to be deflecting or delaying the problems surrounding him. I’m not sure if the BL genre’s classic “I don’t like men, I just like you!” line really works in “reality,” nor the reality Genshiken wishes to depict.

More generally, not understanding one’s own feelings is a recurring element of the otaku subculture, especially when it comes to human interaction. Not to fall into the stereotype of otaku and fujoshi having no social skills or sex, but it’s clear from previous chapters that their experiences with romance have been limited or marred with awkwardness. It only makes sense that not only Hato but Yajima seems to be either consciously or unconsciously denying something, even if it doesn’t necessarily go as far as sexual attraction. I find it both interesting and relevant to this chapter that both Hato and Yajima are the types to restrain themselves to a certain degree even when among their comrades.

The highlight of this chapter may be the fact that this is the first time we’ve seen Kuchiki successfully do something admirable. He’s tried in the past before, like when trying to stop the cosplay thief at the club recruitment fair, but that led to such disaster that it’s one of the first things mentioned in Genshiken II. While Kuchiki is obnoxious and doesn’t understand social problems, he does bring up the relevant point that Hato’s interests in and of themselves do not cause trouble for anyone, nor should they. It makes me think about the other classic annoying character of Genshiken who hasn’t appeared in forever, Haraguchi, and how different the two are. Unlike Haraguchi, Kuchiki is selfish and rude but too honest to be manipulative.

As for the possibility of Angela being Madarame’s first time, I actually really want it to happen now. I don’t particularly care if Madarame and Angela become a “thing,” and of course there’s the long-distance component in all that, but there’s something about Angela just getting the job done that I find potentially hilarious. Genshiken has never been big on valuing female virginity, going all the way back to Saki discussing her sex life with the club members, or the fact that Ogiue is at this point very much not one, but somehow Madarame the virgin is the bigger deal. Losing it in a brief fling where both parties are aware of the lack of classic romance as well as the time limitations would be appropriate and a subtle defiance of the “nerd guy gets the hot girl!” trope, without necessarily being sad, even if Madarame is portrayed as somewhat of a romantic at heart.

This month’s Genshiken also came with an extra comic by another artist, about one of the Genshiken Nidaime anime voice dubbing sessions. As previously discussed, the new anime has an entirely new voice cast, and it’s a lot about the director (who has worked on the previous Genshiken anime) instructing them on the nuances of the characters. Naturally, they don’t reference the previous actors, as that would compromise the legitimacy of the current cast. Probably the most interesting tidbit is at the end, when it turns out that a lot of the female voice actors are themselves fans of Genshiken, and were all asking Kio Shimoku for his autograph. Kio is reportedly a very private individual, which actually just makes me think of him as Madarame, secretly attractive.

Genshiken Nidaime First Trailer

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The new Genshiken has its first trailer, a 30-second clip. It’s just a voiceover with Yoshitake, Yajima, and Hato, as well as a small bit of Ogiue, but there are some things I observed in the trailer.

The main thing I noticed is that the new Ogiue voice, Yamamoto Nozomi, sounds similar to the previous actor Mizuhashi Kaori, though not Mizuhashi’s performance of Ogiue. Mizuhashi is quite varied (Ogiue doesn’t resemble Miyako in Hidamari Sketch), and Yamamoto’s performance sounds a bit closer to some of Mizuhashi’s other roles, such as Rosetta in Kaleidostar or Mami in Madoka Magica. So it’s sort of a match, but sort of not.

The other notable thing, I think, is that they didn’t give Yajima a “fat” voice. A lot of times, heavyset characters in anime have a deeper, rounder voice to emphasize their weight, but Yajima’s voice sounds more normal. It doesn’t quite have the coarseness I was expecting, but it’s still good to see it not fall into that old stereotype.

Genshiken Nidaime starts July 6th. I still haven’t decided if I’ll episode-blog it or not, especially because that eats up a whole bunch of my post slots (even if it would make for easy content). The other issue of course is that I’ve already done chapter reviews of the source material, and I worry that it’d be quite redundant. That said, maybe I can use it as a way to revisit those previous chapters.

What do you think? Are the chapter reviews already more than enough?

The Fujoshi Files 75: Ameya Yuiko

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Name: Ameya, Yuiko (飴谷結子)
Alias: Yui (ユイ）
Relationship Status: Dating
Origin: Fujoshi Kanojo.

Information:
Ameya Yuiko is an older woman dating a younger college student named Mutou Taiga. Ameya enjoys teasing him on a regular basis by showing him yaoi and referring to him as “Sebastian” (Sebas) while having him make tea. Preferring uke characters, she sees Mutou as one as well. Ameya works as an Office Lady, a job where she must frequently fend off the advances of her boss.

Ameya has a close circle of fujoshi friends, including Masana and Sachi, as well as Seto Akari. She is particularly fond of the shounen series Sepatte Takuro, about the Malaysian sport of Sepak Takraw.

Fujoshi Level:
Once, when Yuiko was ill, she tried to convince her boyfriend read BL to her as if it were a bedtime story.

Gargantia and the Clash of Ideas

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Gargantia on the Verdurous Planet is probably my favorite show of the spring season. It has a very strong science fictional feel without constantly, constantly delving into exposition, and it has some interesting narrative themes too, as well as ways of expressing those themes. It also has a strong cast of characters through whom the world is experienced, and the excellent design of the robot Chamber also doesn’t hurt. Episode 11 in particular caught my interest, so I’d like to discussi t.

In episode 11, Ledo’s superior officer Kugel returns. Initially disappearing in episode 1, Kugel turns out to have been on the other side of the  planet, where he has basically become the god of a people over there. Using the philosophy of the Galactic Alliance, Kugel moved their way of life away from a familial/religious structure and more towards a stratified meritocracy. This is, of course, quite different from Ledo’s own experiences.

Key to this difference is the reveal that, due to an endemic disease, Kugel cannot leave the sterile environment of his own cockpit. Although this decision is clearly practical in many ways, it also sets up the idea that the cockpit of his Machine Caliber is a bubble, not only physically but also ideologically. Because Kugel is unable/unwilling to leave the safety of his environment, he never had the chance to experience firsthand the way of life of the people who now worship him, nor for their philosophy to “contaminate” him. Even though he’s basically a good person (as can be seen when he saves Ledo in episode 1), Kugel continues to follow the hard line of the Galactic Alliance without flinching.

I think it’s a really nice piece of symbolism, and what I especially like about this development is that it’s sort of the “war comes to Earth” theme which seemed very likely from the start, but in a different sense. With Kugel, Gargantia, and then Ledo in the middle, it’s more of a clash of ideas and perhaps even a postcolonial criticism of the idea of bringing “civilization” to other cultures.

Comparing Manga with the Otaku Guy + Popular Girl Theme: Otaku Riajuu vs. 3D Kanojo

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Recently I read two manga with very similar conceptions, I’ll Make You into an Otaku, So Make Me into a Riajuu and 3D Kanojo (also known as “Real Girl.”) Both are based on the concept of an otaku guy and a fashionable girl forming a friendship (or something more), but the messages they convey, at least from what little I’ve read, are significantly different. In particular, the way Otaku Riajuu handles its female lead is pretty embarrassing, and highlights a lot of things wrong with whatever mindset produced the story, and for which 3D Kanojo provides a better alternative.

First things first, there are some differences in the setup of each. Unlike 3D Kanojo, which is about the budding romance between the otaku guy and the fashionable girl, Otaku Riajuu is similar to Toradora! in that the two leads are at least initially trying to help each other to get together with someone else. Other similarities include the fact that the girl is tiny and feisty, much like Taiga. Toradora! is pretty great, so that’s not so bad in and of itself, but there’s more to it.

In Otaku Riajuu, the girl, Momo, has a reputation for sleeping around a lot. The guy, Naoki, upon becoming aware of this, basically wants nothing to do with her. He thinks of her as a “bitch” (in Japanese context, the term veers closer to “slut,” see Panty in Panty & Stocking with Garterbelt for a prime example), and therefore wants nothing to do with her. A pretty messed up opinion to be sure, but then when he find out she’s actually uncomfortable around guys and clearly can’t be the bed crusader the rumors make her out to be, then he gets along with her a lot better.

Think about it: Naoki doesn’t like her when he thinks she’s a slut, but when he finds out otherwise everything’s “okay.” I’m not one to throw out the term “slut-shaming” liberally, and in fact this is the first time in the history of the blog that I’ve even used it, but it is literally the main character looking at a girl with disdain for being sexually active. The fact that we’re supposed to think Naoki the poor closet otaku is a Good Guy for changing his opinion of her after he learns the truth makes it even worse.

3D Kanojo on the other hand establishes that its female lead, Iroha, actually does sleep with a lot of guys, but doesn’t make the concept itself an inherent minus other than the fact that she has to deal with a lot of angry former lovers. Here, although the male character Hikari, being an awkward otaku virgin, is uncomfortable with the way Iroha is, the series seems to be more about their budding romance both in spite of and because of their differences. Hikari is also a nice guy in that he tries to save Iroha from a couple of angry suitors and gets so nervous when she invites him to have sex that he ends up avoiding it, but it’s clear he sees her as a person neither in spite of or because she’s sexually active.

I think a lot of the reason for this difference is just the intended demographic. Otaku Riajuu is based on a light novel, and aims for that male otaku market. Although not always the case (and not something exclusively otaku or Japanese), a valuing of virginity and purity by way of moe aesthetic is very clear and obvious here, and the strange idea the manga has about what it means for a guy to be “nice” likely stems from this. 3D Kanojo however is a shoujo manga, and this can be seen in the male lead who has a smattering of “gentle, ideal boyfriend” in him. He’s awkward around girls, but that’s what makes his attempts at heroics all the more charming. It also goes a long way in explaining why Iroha is written in a more well-rounded manner.

I’ve only read a bit of each, so I can’t say for sure if my opinions of either title would change down the road, but for now I’d have to say that 3D Kanojo is clearly the better title. The differing approaches to the popular girl character used by it and Otaku Riajuu do not form the entirety of my reasoning for recommending one over the other, but I think they give a good indication anyway.