You Might Feel a Little…Attracted: Hato Kenjirou Figures Review

While Genshiken-related merchandise remains relatively sparse in the grand scheme of figure collecting, Kodansha recently collaborated with Kaiyodo to bring two Hato Kenjirou figures to loyal readers.

The first figure comes from an issue of Monthly Afternoon and features a standing Hato, while the second one comes from a limited edition Japanese release of Genshiken Volume 11.

Featured here is Standing Hato. As can be seen from the photos, the quality of the figures is trading-figure-level, so it won’t match up to a really good model, but as far as trading figures and gashapon figures go, it’s actually fairly impressive. There doesn’t seem to be any significant bleeding in the paint job, and even the details on the purse hold up to a certain amount of scrutiny.

Aside from the seams separating the pieces which make up Hato’s hair, there aren’t any really noticeable flaws, and even that is just part and parcel for the level of figure we’re getting here. The flower pattern on the dress and the details on the denim jacket also look good.

Next up is Sleeping Hato, otherwise known as Unconscious Drunken Hato.

Aside from some minor flaws, the second figure is just as solid as the first. They even did a good job on the toes, which I get the feeling would be enormously easy to mess up on a figure this small and relatively inexpensive (it came packaged with the volume for a bit extra, though I can’t remember exactly how much).

Because Sleeping Hato has to be constructed from more parts than Standing Hato, the seam in the dress between the torso and the legs is much more noticeable, though I don’t find it to be the biggest deal in the world. Again, given the typical quality of these figures, this one does a good job. You’ll note that they sculpted his hair to match the fact that he’s supposed to be lying down.

Actually, Sleeping Hato comes with one additional feature that most other figures lack: It’s a refrigerator magnet!

There’s a small magnet sticking out of Hato’s back which I’ve chosen not to photograph, but it’s pretty much what you might think it is. Are your to-do lists for grocery shopping feeling a bit lonely? Do you wish you had company for your magnet souvenirs from Japan? This crossdressing fudanshi figure successfully accompanies all fridge doodads! What’s more, 9 out of 10 people can’t tell that it’s a man!

So there we go. Both figures at this point will be pretty difficult to find, especially because they were both packaged as extras. I’m certainly not the biggest fan of Hato Kenjirou, but I have to say that both of them look good if you judge them by overall figure standards, and great if you judge them among their peers.

Otakon 2012 Interview with Nonaka Ai

Introduction: This is my interview with Japanese voice actor Nonaka Ai, who was a guest at Otakon 2012. Nonaka is known for roles such as Kafuka in Sayonora Zetsubou Sensei and Fuuko in Clannad.

Nonaka: [in English] Pleased to meet you. My name is Ai Nonaka.

OM: You played a character in Saki: Episode of Side A. What did you think of the role, and have you played any mahjong yourself?

Nonaka: [in English] I never played mahjong.

OM: Personally speaking, I know you best as Fuura Kafuka from Sayonora Zetsubou Sensei, but you also play Ichijou in Pani Poni Dash, and those are both interesting, quirky, and even bizarre characters. How is it playing those roles, and how is it working with SHAFT in general?

Nonaka: So, I may act very strange roles, and though they are all quirky and weird, they all have a policy in the way that they act so I want to respect the policy that the character has and do the character to the best of my extent.

OM: Another quirky character is Ibuki Fuuko from Clannad, who you first played in a game and returned to a few years later. Returning to that role, what lessons had you learned in those years between playing the same role again?

Nonaka: I didn’t feel that much of a time lag when the game came out and when I started recording for the anime, so there wasn’t really that time in between.

So the first season of the anime had the same story as the game, but then the second season of the anime was illustrating a world where Fuuko was already gone and the child was already born. So, it was a very strange sort of experience for me, especially in the anime.

OM: I think that when it comes to voice acting, it seems that there are two traits that are sought after. One is having a unique, distinguishable voice, a voice that people can recognize, and the other is having versatility, the ability to play many different roles and change your voice. Which one do you think you’re stronger at, and how important do you think each individual one is in terms of being a voice actor?

Nonaka: I personally think I’m one with a unique voice, and the real strength of having a unique is having people remember you by that really unique voice, so I think I’m really benefitting from that unique voice. Although I have a unique voice, because I can’t change my voice too much I can’t do things like two roles in one anime.

OM: Do you have any favorite actors to work with, or actors you’d like to work with?

Nonaka: Although she’s not a voice actor, Kuze Seika. She used to be part of the Takaraza Kagekidan [Revue].

[in English] Do you know?

OM: I know.

Nonaka: Aahh!!

OM: Putting aside voice questions, what are your hobbies and what do you do when you’re not working?

Nonaka: [in English] I like… run!

So, I’m going to run at the Kobe Marathon after i get back.

OM: How long is it?

Nonaka: Since it’s a full marathon, it will be the full 42.195 kilometers.

OM: Is this your first marathon?

Nonaka: It’s my first full marathon. I’ve done other marathons in the past.

OM: Are you doing any sort of training or diet preparation for the marathon?

Nonaka: [in English] I run three a week.

OM: Three times a week?

Nonaka: [in English] Three TIMES! a week.

OM: Do you change your food? Because I know for instance that a lot of marathon runners will eat a lot of pasta or grains.

Nonaka: Keeping slim is my diet. Lighter is better.

OM: Do you have any favorite foods?

Nonaka: [in English] My favorite food is osushi!

OM: What’s your favorite sushi?

Nonaka: Egg, fatty tuna, and nattou-maki.

OM: Wow!

Nonaka: Have you eaten nattou before?

OM: I actually like nattou a lot.

Nonaka: [in Japanese] REALLY?!

OM: I lived in Japan briefly. Nattou-maki is something I can’t get anywhere else so I miss it a lot.

Nonaka: Ehh?! Wasn’t it a bit odorous?

OM: I realized that I like fermented foods, like nattou and stinky tofu.

Nonaka: [laughs]

OM: One last question. Going back to the role of Kafuka in Zetsubou Sensei, is there anything you really keep in mind while playing the role?

Nonaka: I try to make it positive. A bit off, and maybe crazy-sounding, but positive to that extent.

OM: Thank you very much!

Nonaka: [in English] You’re welcome!

Otakon 2012 Interview with Tenjin Hidetaka

Introduction: I attended Otakon this year and got the chance to interview mechanical illustrator and designer Tenjin Hidetaka. Responsible for box art from various series including Gundam and Macross, his latest work can be found in Aquarion Evol. His official website can be found at http://www.studio-tenjin.com and his Twitter is @TENJIN_hidetaka.

For the sake of consistency with the rest of this blog, Japanese names are last name first.

OM: How did you get started working in the anime and toy industries?

Tenjin: My very first anime work was Macross Zero from Satelight. I can’t remember what year it was, either 2002 or 2003, but my first anime was Macross Zero.

OM: How is it like working with Kawamori Shouji? How did you meet?

Tenjin: I met Mr. Kawamori Shouji because I had been illustrating for a Macross fansite. I was drinking with a few friends of mine I had met through the fansite and Mr. Kawamori Shouji also attended the event.

But even before I met Mr. Kawamori Shouji I had been working as a professional illustrator, so when I had a chance to meet him I showed him my portfolio, and he gave me the chance to start working with him.

OM: Does the fansite still exist?

Tenjin: The fansite no longer exists. I deleted it right away. But I think some archive of it still exists. Some very hardcore fans from the past still hold onto their precious archives of the past.

OM: I can understand that. So you work both in fantastic designs such as robots as well as more realistic designs such as planes and other vehicles. As an illustrator, do you use the same philosophies and concepts in drawing the realistic vehicles and the more fantastic ones, or are there more significant differences you have to keep in mind while drawing them?

Tenjin: I think about the practical purpose of the vehicle, how it’s used. For instance, with a Gundam it’s a weapon, an instrument of war. So I picture what a tank would be like, and I take the heavy texture of paint and use it for the Gundam. But on the other hand, for something like a Valkyrie, it’s basically a plane so I try to use lighter textures and try to focus on thinner silhouettes.

OM: I actually have a question related to that as well. When it comes to robots, we mainly hear about mechanical designers such as Katoki, Okawara, and Kawamori, who are all about designing the robot from various angles, but we rarely get to hear from someone who’s a mechanical illustrator. What are some of the unique advantages and some of the things you have to consider while drawing mecha without necessarily having “design” in mind?

Tenjin: The difference is, when there’s already a design, I need to think about what the designer had in mind. Even with something as simple as a single line, I have to think about what its purpose is. I need to focus not just on the design in front of me, but other designs that the designer has created because what I am trying to portray through my illustrations is not just the mechanical design or that one item, but the worldview of the designer, the fantastic world that the designer is trying to communicate.

For example, for classic model art for the package or box art, something I focus on is the background. By putting a lot of details in the background, I try to express the storyline of the world behind the design.

OM: You worked on Aquarion as well as its sequel Aquarion Evol. It’s been a few years between those projects. What do you feel you’ve learned between Aquarion and Evol in returning to the franchise?

Tenjin: Something I improved in is weathering texture, introducing weathering to express just how old a vehicle is within the world of Aquarion and Aquarion Evol. But with Aquarion, there are two time periods, the present and 12,000 years ago. I don’t think I was successful in depicting how things would change in 12,000 years.

OM: Related to Aquarion, it seems like 3D modeling is increasingly used to animate mechanical designs, and figures such as Mamoru Oshii have talked about how there are fewer and fewer people who know how to work with 2D designs without going to 3D models. As an illustrator, what do you see as the potential for 3D modeling for mechanical designs in anime?

Tenjin: When I first entered this industry, 3D animation was just at its start. You were seeing the very first examples of 3D animation and, to be honest, the quality was very low. But these days 3D is used very frequently in Japanese animation and very naturally and so the techniques have improved enough that you don’t really notice the differences between 2D and 3D animation. So, I don’t think there’s anything to worry about in that respect.

OM: I just have one more question. I noticed that there quite a few works in that slide show [Tenjin had in front of him an iPad displaying various examples of his box art] from VOTOMS. Do you have a particular fondness for VOTOMS?

Tenjin: [in English, without the need for a translator to explain my words] Of course!

Rinshan Kaihou: Genshiken II, Chapter 78

Kasukabe Saki visits Genshiken, bringing pangs of nostalgia to readers everywhere! As Hato puts it, “Is this what Genshiken used to be like?”

As Hato exchanges contact information with his old classmates, Kasukabe attends Shiiou University’s school festival, she catches up with her old friends, showing the degree of wit and perceptiveness she’s always been known for, the conversation turns towards the future, career paths, and even romance. Watching Saki work her magic, Hato can’t help but notice that the club somehow seems more lively when she’s around. Inevitably the topic of conversation turns towards Madarame, whom Saki caught receiving a kiss on the cheek from Sue in the previous chapter. Having heard about Madarame’s full-scale defense against the charms of Angela on top of that, Saki jokes that Madarame must be a lolicon, to which Hato comes to his defense in a rather awkward way.

As Sasahara’s sister discovers the truth of Hato, Saki silently considers that Madarame is finally hitting the point at which a guy like him becomes attractive to the opposite sex. Encouraging him to try out dating, the conversation ends on the kinds of porn that Madarame watches, which apparently is “everything.” We already knew that, though.

The new crew doesn’t get much exposure this chapter, but the hints towards Yajima possibly having feelings for Hato are definitely there. This is evident from the way her old friend Mimasaka, who thinks the world of her, reacts to Hato. Even if Mimasaka is being paranoid, it seems like she knows Yajima well enough to see when something is up. I actually expect them to be the focus in the next chapter or the one after that, especially because Hato’s story is “wrapping up” in certain respects, the mysteries of his existence now being a little less mysterious.

I have to wonder if showing Kasukabe again is a little cruel to the people who really miss the old Genshiken. While I know plenty of people who are fine with the new series, I also know people who much prefer the original style, presentation, and character dynamics of the first series. Giving them a glimpse of that environment once more might be equivalent to saying, “I could have continued Genshiken like how it used to be, but I didn’t!” In this respect it really does make the new club seem like a second generation.

That said, Kasukabe has always been that extra bit of spice which pushed Genshiken into interesting directions, the sole non-otaku in the club full of hapless dorks, as opposed to the current state where awkward isn’t quite what it used to be but no one is so firmly out of that sphere as Saki was. Just the way her statement about being okay with gay relationships getting misinterpreted by the fujoshi minds of Ogiue and Ohno (Saki’s response is that she’s referring to actual gay couples she knows in real life) shows that the rift still exists, albeit a rift that has had a solid bridge of friendship and understanding erected across it for years.

I realize that one of the limits of my analyses every month is that I don’t spend a significant amount of time on Hato, who seems to be getting more and more time in the story. At the same time, personally speaking I don’t think predicting whether or not he’ll end up with someone, be that Madarame or otherwise is particularly fruitful. I think Hato’s sexuality is not meant to be clear cut, whether that’s “he’s gay but denying it” or, as so many have mentioned both within the story and outside of it, that “2D and 3D are different,” and though I don’t have quite so much of a vested interest in the turn-out, I do find the degree to which the manga tackles the ambiguity of the topic to be particularly good. Hato destroys the lines which divide.

To what degree is otaku culture, especially male otaku culture, receptive to concepts like homosexuality or even sexuality in general? I’ve viewed it, both within Japan and outside of Japan, as being somewhat similar to geek culture in general in this regard, which is to say liberal in certain ways but can be quite conservative in others, which is why, as Kio Shimoku continues to bring the topic up through Hato and his potential feeling towards Madarame every chapter, I have to step back and think, “is this okay in a seinen magazine?” Granted, it is a seinen magazine which also runs Ookiku Furikabutte! (Big Windup), but I feel like there’s definitely a risk involved, especially when the potential target of homosexual affection is the most geeky of the otaku in Genshiken. Then again, if the guy was willing to make a detailed and in some ways harshly realistic manga about raising a newborn, then I guess nothing can stop him anymore (aside from lack of sales).

Saki views Madarame now as the late bloomer who’s apparently finally showing his petals. I’ve seen other manga talk about how there are simply times in a guy’s life when he’s more attractive to the opposite sex (and in the context of harem manga this means having it all concentrated into the present), but I don’t think Genshiken is quite going for that. Rather, I think it’s a complex interplay of elements that gives us the Madarame of today. When you actually look at him, although he’s similar to the Madarame we saw back in Chapter 1, he has in fact changed quite a bit. First, he’s not nearly as “aggressively otaku,” touting the lifestyle as a badge of sad pride, and second, he’s nowhere near as uncomfortable around girls as he used to be, probably from interacting with them so much in Genshiken.

Call it whatever you want, maturity, a betrayal of moe values, but I could easily see the how tempering of his passions to still be evident but not quite so extreme, as well as his overall understanding attitude (the result of being otaku in certain ways) could combine at this current point to make a fairly attractive guy. It doesn’t hurt that he dresses better now too. Madarame is seemingly no longer held back romantically by just being too much of an otaku, but by a combination of being unable to accept the possibility that he himself might be attractive, and that he has an unrequited love which he’s afraid to lose or to move away from. That said, I have to wonder if having to constantly interact with the girl he loves while hiding the fact (or at least trying to) also ironically helped him to develop more socially.

I noticed that there’s discussion as to whether or not Kasukabe is actually pregnant, given her choice of clothing, or if that’s just some fashion faux pas on the part of Kio. I can’t decide for myself, but I will say that because he’s tackled the topic of pregnancy and childbirth in his work, it wouldn’t be that surprising. It also might be me just making silly associations, but the way she looks reminds me of that moment in His and Her Circumstances where Yukino is pregnant and her mom, not knowing the truth initially, comments that she somehow looks more mature.

Again, though, I can’t say but it would lend meaning to Saki’s remark that Ohno’s wedding must be getting close. I have no idea whether she’s just joking or not, though Most of the relationship developments in the manga for Ohno and Tanaka have been off-panel (though the anime Genshiken 2 had its own steamy interpretation of things), so I can’t count out the possibility that this is actually for real.

Last thing I’ll say is, the reference for the next chapter is of Getter Robo Go, a decidedly older series compared to what’s been used lately. Curious.

The Fujoshi Files 51: Asada Naoko

Name: Asada Naoko (麻田直子)
Alias: Nyaako (にゃーこ), Cat-Mouth Girl (猫口娘)
Relationship Status: N/A
Origin: Genshiken: The Society for the Study of Modern Visual Culture

Information:
Asada Naoko, known to many as “Nyaako,” is a student at Shiiou University and originally a member of the school’s Manga Society along with her friends Yabusaki and Katou. Though not nearly as boisterous as Yabusaki, she often knows how to temper her friend’s Osakan fury. Asada also gets along with Sue Hopkins from Genshiken owing to their somewhat similar personalities.

Fujoshi Level:
Information on Asada’s fujocity is extremely scarce, and her preference for it can mainly be gleamed from her interactions with her friends. At the very least, knowing where Yabusaki’s own doujin collection is stashed shows signs of mutual interes.

Emissaries of Muscles: Pretty Cure

I might write a full review later, but for now I want to talk about a small scene in the 4th Precure crossover movie.

In the big battle at the end of the movie, the villain takes a ship and pushes it along a track of its own making, turning the ship into a runaway train. Present are four Cures from Smile Precure! and the four from Suite Precure. Working together, they’re able to slow down the ship but are knocked aside by the enemy. When all hope seems lost, the originals, Cure Black and Cure White (along with Luminous) appear at the very last moment and put a complete stop to the ship before it can crash into the city.

Where it at first took eight Cures to halt the ship, Cure Black and Cure White seemed to each have possibly five times the strength of their more recent counterparts. I’m sure someone must have been smiling at this scene.

The reason I wanted to talk about this is because I like how the crossover movies have gone out of their way to establish that the original duo seems to not only be the most reliant on close-quarters martial ability but are by far physically the strongest. It’s something I’ve talked about before, in fact. The original two series did place the most emphasis on just straight-up well-animated fight scenes, and it’s also an interesting way of making those two stand out when compared to their flashier successors.

It kind of reminds me of Simon Belmont’s boss rush in Castlevania: Harmony of Despair. Taken straight from the NES Castlevania, Simon has none of the tricks or spells or fancy maneuvers of the post-Symphony of the Night characters, but he makes up for it with raw strength.

81 Diver is Amazing

Sometimes I can’t believe how much I enjoy the ugly, ugly, ugly art of 81 Diver. Just look at this page for a moment.

I don’t know about you, but when I first saw that kick I simply couldn’t hold my composure. This scene, among many others, actually gets me to burst out laughing.

81 Diver is the work of Shibata Yokusaru, the same man who created Airmaster. It is a manga about Sugata Kentarou, a gambling shougi player, and the woman he loves, “Ukeshi,” an excessively well-endowed maid who is also known as a legendary shougi player renowned for her defensive and reactionary play. I have never played a game of shougi in my life, so much of the terminology goes straight over my head, but the terseness of the dialogue and the sparseness of text in the word bubbles combined with the frenetic line work makes each match extremely tense and exciting, especially given how absurd the characters are.

Let me tell you about what I believe is one of the defining moments in 81 Diver. Sugata is playing a hobo/shougi hermit. Money is on the line. Sugata’s stipulation is that if he wins, he gets the shougi hermit’s money (he’s a hobo but he isn’t poor). The hermit agrees, but in exchange, he demands that his prize be to get a handful of Ukeshi’s breasts. The hero, hearing this stipulation, demands that this be a serious match, but rather than forcing the hobo to change his prize, he takes the reward of touching Ukeshi’s chest as his own incentive, even foregoing the money to do so. As the two of them play an incredibly intense game of shougi full of blood, sweat, and tears, both of them have one thought on their mind: “I’M GONNA GRAB EM!” Spoilers, I guess, but in the end neither gets to grab them. That’s the kind of manga 81 Diver is.

I know there’s a J-drama based on 81 Diver, but I’ve yet to take a look. I do worry that the basic veneer of attractiveness that all live action Japanese manga and anime adaptations undergo with its actors would take away from the appeal of the manga. Related to that point, I honestly think that if the art were prettier or sexier or even had a more solid grasp of anatomy, then it would fundamentally change 81 Diver for the worse. The premise, a shougi-playing maid with gigantic breasts, could easily become another Ikkitousen or Queen’s Blade where the content of the manga practically bends and warps to the will of the women’s curves. And certainly there are plenty of cleavage shots of Ukeshi and the like, but the artist’s style instead manages to shift emphasis away from her attractiveness despite how much time is spent on describing her as a voluptuous woman. It’s ugly and outrageous, and the result is that when I think of Ukeshi I think of her unbelievable shougi skills first. It also doesn’t hurt that she’s shown to be in most ways Sugata’s superior in their chosen game, which makes their absurd romance all the more fun to read.

Almelo Anime 2012 Sketches

As promised in my con report, here are the doodles I did while in the drawing room at Anime 2012. My favorite one is the creepy cult leader hitting on the lady.

It Doesn’t Take a Madoka Magica

I was recently asked about why I don’t seem to like Puella Magi Madoka Magica nearly as much as other anime fans, bearing in mind the degree to which the show seems to garner an extremely devoted, I might even say evangelical fanbase. “Have you not seen Madoka Magica?” they ask.

While I think it’s quite a good show, even excellent in a number of respects, my opinion is that unlike so many others Madoka Magica did not open the world to me. It is not the greatest magical girl anime I’ve ever seen, let alone the greatest anime, and rather than showing me that it’s possible for such a genre to be full of rich depth and interesting ideas it just reinforced my already existing beliefs in that regard. So, yes, an excellent show and a fascinating twist, but something I always knew was possible (in a good way).

What I’ve kind of noticed is that the people who seem to be the most awestruck by Madoka Magica are the fans with little experience actually watching magical girl anime, and so when they discuss what makes the darkness of the series so special, it always feels less like people are talking from actual experience with the genre and more with just their idea of the genre from watching some Sailor Moon. Or if not Sailor Moon, their experience is comprised primarily of watching the genre exceptions, such as Revolutionary Girl Utena and Magical Girl Lyrical Nanoha.

This is not to deny the legitimacy of other people’s watching experiences, as telling someone that they don’t have the right to enjoy a show without x or y prerequisites is pretty ridiculous. However, I feel as if many people who think the world of that show and have an opinion on how it’s done so much with the magical girl genre, while in some ways right, have only experienced the “darkness” of mahou shoujo without being familiar with the “light,” in other words the shows which manage to achieve genre highs without falling into themes like subversion or dark parody. Even in the past decade or so you’ve had shows like Heartcatch Precure!, Ojamajo Doremi, and Cosmic Baton Girl Comet-san which are able to achieve a lot without flipping conventions all the way upside down.

It doesn’t take a Madoka Magica to realize the potential of the magical girl genre, which is something I hope more and more people come to learn.

There’s…34 Days…of Summer Vacation…

Whether it’s in the US or in the Netherlands, I’ve noticed that Phineas and Ferb is amazingly popular, so it should be no surprise that the show has aired in Japan as well. The only curious thing is that P&F takes place over the “104 days of summer vacation” as mentioned in the intro, but in Japan summer vacation is significantly shorter and they get homework during their break because their school year starts in April.

So what is a Japanese Phineas and Ferb opening to do?

Simple: Don’t mention summer vacation at all.

I swear they got the perfect voice for their sister Candace. Seriously, I feel like it’s spot-on with what I imagine a Japanese Candace to be, even the way she says “opening theme.”