Hey I’m Grump: Genshiken II, Chapter 109

The vacation has turned into a house party. As Keiko and Angela try to butter up Madarame with alcohol and sex appeal, Yoshitake and Ohno give Kuchiki somewhat similar “VIP” treatment. Kuchiki asks Ohno if he can touch her breasts, who unsurprisingly refuses, especially when Kuchiki references Ohno’s tendency to avoid getting a job. Hato gets tired of Angela and Keiko and tries to make Madarame jealous by appealing to Kuchiki, but accidentally makes him pass out from too much alcohol. After some arguing where Keiko and Angela try to use this as an opportunity to be alone with Madarame, Hato and Madarame are tasked with bringing Kuchiki back to the hotel.

This chapter has made me realize that breast-touching, or the prospect of it, has been a recurring theme of sorts in Genshiken Nidaime. I know that might sound kind of absurd, but hear me out.

Between Kuchiki futilely requesting Ohno, Madarame’s risque evening with Keiko, and even the fact that Kuchiki has already indeed crossed this threshold (albeit unconsciously), the “value of boobs” has been present for many chapters. At first glance, this might very well appear to be the descent of Genshiken into something cliche and unrecognizable, but I think that there’s a certain critical or observant eye towards the division between guys and girls that still exists to a certain degree in Genshiken, otaku culture, and perhaps even culture at large.

The reason I believe this to be the case, though for the most part it’s probably just an opportunity for jokes, is that one of the notable differences about the second series compared to the first is the mostly female main cast. It’s a point I and others have brought up again and again, to the extent that it’s arguably not even necessary to repeat, but Genshiken currently consists of this very candid, almost unglamorous look into the lives of these female otaku. Even in this very chapter, you have Kuchiki talking about how every guy in Genshiken secretly wanted to feel up Ohno juxtaposed with three girls in the bath, casually nude, talking casually, while none of them are the “targets” of this desire. On the one hand, breasts are almost a holy grail of manhood, a reflection of the mentality of the Genshiken old guard. On the other hand, girls are letting it all hang out and breasts aren’t a big deal, an indicator of how things are now.

All of this is further contrasted by Angela and Keiko. There’s a certain chasteness among the other characters and even the idea that the boob grab is this life-changing event, and then there are these two characters who are so far beyond the borders of whether or not a guy has touched a breast before, so distant from even the question of virginity, that I can imagine the other people on this vacation seem almost quaint to them. In fact, they’re utilizing their breasts for the exact reason of appealing to Madarame’s innocent awkward otaku mindset, and even the Madarame Harem itself consists of two characters who are highly experienced when it comes to sex and relationships, and two who are absolute beginners. In a way, it reminds me of the image and existence of otaku culture itself, which is in a way childish (this is not a bad thing) but also filled with adult concerns (also not a bad thing), and I don’t even mean that in an “otaku suffer from arrested development” sort of way.

What I think this all leads to is an emphasis that there are many different perspectives at work, to the extent that the idea of the otaku is not as simple and monolithic as it once was. This is perhaps what Tamagomago was trying to get at when he said that the concept of “otaku” as we knew it no longer exists.

While I don’t want to put too much into author intent, it’s a fact that Kio Shimoku is married and has a kid now. He knows and has had the experience of touching a breast. In fact, I bet a lot of manga creators have had this experience, even the ones who draw the most fanservicey, harem-y series around. I have to wonder how much Kio has maintained this theme for the purpose of remembering that being an awkward, unsocial guy who can’t even talk to girls can make it seem as if breasts are attainable only in fantasy, only he’s tempered it by taking into account the point of view of girls as well, not as objects of desire, but as people. In the case of Angela and Keiko, and perhaps even Hato, they’re people actively working to present themselves as objects of desire. Hato himself might be the center of this storm, a male otaku who is also a fudanshi, who has to come to realize his own sexual orientation, and who actively works with symbols of the feminine both inside and outside of notions of romance. Even this chapter features male Hato in makeup for the first time, as if to say that the borders within himself are becoming nebulous. That’s not to say that guys can’t wear makeup, but for Hato makeup has a very specific function.

This chapter review has turned more into a small essay, it seems. I think I’ll cut it short here so I can mention a few other things. Yajima’s mom continues to show that she’s more Yoshitake than Yajima. Mimasaka continues to confirm that her attachment to Yajima is probably something bigger. In the extras of Genshiken Volume 17, Angela tried to send Madarame some dirty footage of herself for Valentine’s Day(whether it’s photos or video they never show or say) , but they got intercepted and destroyed by Ohno before reaching their destination. I have to wonder if Angela is operating under the assumption that he was able to see it.

As always, I prefer to end each review talking about or showing something Ogiue-related, and sadly I could not fit “on the title page Ogiue is wearing that boob window sweater that’s become a popular meme in Japan” into what I was talking about above. It’s the obvious joke, that Ogiue doesn’t have the size to properly fill out that sweater, an idea that fan artists have already leaped on with other similarly-proportioned characters. While I know that Genshiken is full of references to popular culture (Sue makes references to both Dragon Quest and Sakigake!! Otokojuku this month), it’s much rarer for a meme of this kind to reach the pages of Genshiken. At the same time, no one really draws Genshiken fanart, so I guess it’s up to the creator himself to undergo the task.

What’s funny is that, if not for the boob window, this is very much the kind of outfit that Ogiue would wear.

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The Enemy’s the Fashions! Kuragehime’s Look at Anti-Beauty

Kuragehime, aka Jellyfish Princess, has so far been quite a genuine look at the lives of female otaku. Though certain elements of the story are exaggerated for comedic effect, the show really feels sincere overall, particularly when it comes to the uncomfortable conflict that can occur when dorks, particularly female dorks, run up against the frightening monster that is Fashion.

Already from episode 1 you get the idea that main character Tsukimi and the other girls find fashion to be an anathema. Living in Tokyo, going outside means having to deal with the constant, almost unconscious social pressure that results from not looking “like everyone else.” They know they’re different from others, and being reminded of it constantly and from all angles doesn’t make them any more comfortable. Their home, known as Amamizukan is a haven, not merely because it’s visually devoid of the perceived runway drive-bys that make the outside so dangerous, but also because it’s seen as mentally and emotionally free. So when the threat is made internal, either by a “beautiful woman” stepping through their door, or through having one of their own transformed into “one of them,” it’s like the sanctity of their home (and their existence) has been violated by that which they fear most.

In episode 3, Tsukimi is given a glamorous makeover by the cross-dressing Kuranosuke, and her reaction to seeing herself comes in two parts. First, she is unable to accept herself as attractive. Second, she frets over what her peers would think if they saw her. When Tsukimi imagines herself being crucified by her friends, she envisions it taking place on Otome Road in Ikebukuro, which is itself a haven for female otaku, particularly fujoshi, within a greater trendy shopping/fashion city, reflecting the status of their home within Tokyo. This reveals a lot about how Tsukimi defines herself, not just internally but also in relation to others.

While “beauty” can be defined in any number of physical ways (let alone more intangible ones), it’s clear that Tsukimi does not consider herself to be beautiful. By saying that she “doesn’t want to be pretty,” Tsukimi defines beauty as something foreign to her existence, or that to look attractive would mean that she isn’t be true to herself. I can relate. Having been ridiculed in the past because of my clothing, “good fashion” and “good looks” became symbols of the enemy, the barriers which prevent people from seeing that it’s the inside that counts, as taught by one Ugly Duckling. But when you think about it, if the inside is really what’s important, then people should not be judged negatively simply because they’re attractive and make an effort to be attractive.

Fashion can be seen as a way to hide your flaws. In that sense, fashion becomes a “lie” made all the more egregious by glitz and glamour, but it’s a perspective marred by pessimism, where a person allows the negative aspects their appearance to define them more than the positive ones. Instead, you can think of fashion as accentuating your better qualities, where you define “good-looking” on your own terms, and the difference between fashionable and unfashionable can be as simple as an anime t-shirt that fits versus one that doesn’t. But this isn’t what Tsukimi is doing. Rather than making a declaration that sweats and unkempt eyebrows are a sign of her own personal beauty, she has defined “being pretty” as a state that she can only achieve through deception and trickery, that whatever “beauty” is, she isn’t. To look good is to be one with the enemy, and neither she nor her housemates at Amamizukan can accept that (or at least that’s what Tsukimi believes).

So when it comes to the second part of Tsukimi’s reaction, the fear that she would be branded a traitor by her comrades in geekdom, there is more at work than simply group pressure. Tsukimi and the other girls have so violently rejected the “standard” world that they have created their own anti-fashion values, where everything is upside down. While I appear to be contradicting what I said earlier about defining fashion on your own terms, this isn’t quite what’s going on, as the girls are actually casting in a negative light the very attempt to look better. Because they feel ostracized by the outside, they shun it right back to the point that they feed their insecurities, rather than grow more comfortable, and in doing so they end up being not so different from those they wish to distance themselves from.

I know the emphasis that fashion can have on a group dynamic like this can be difficult for a lot of guys to comprehend, so I’m going to provide a more aggressive, arguably more “masculine” nerd equivalent. Imagine that a Star Trek fan gets beat up in school by a bunch of jocks. As a result, he begins to associate anything having to do with physical prowess and athletic activity with stupidity and the worst human traits. Then, he manages to find a Star Trek club and makes some friends, even going to science fiction conventions. He’s happy, but within that community he becomes the guy who judges others by their Star Trek knowledge (which by this point has also branched out to Babylon 5 and other works), and to not be up to his level is to simply not be up to par. Just as this poor nerd “bullies” with his intelligence and fandom knowledge, unconsciously mirroring the very bullies who torment him, the anti-fashion, anti-beauty attitude of Tsukimi and friends emerges in a similar fashion.

Is Amamizukan truly free then? Yes, but only if you follow their rules. That doesn’t make them bad people, though.

My Response to Tamagomago’s “Otaku Girl Moe”

Yesterday I posted my translation of Japanese blogger Tamagomago‘s post about the moefication of the “Otaku Girl.” This is my own follow-up to it, and how I feel about the various themes and ideas put forth by Tamagomago.

While I think the threat of otaku confusing reality with fantasy is not that likely for the most part, I do see how “Otaku Girl Moe” is different from most other types of moe, with the possible exception of “Imouto Moe, ” though that mistake can be quickly dispeled by interacting with real little sisters. Otaku Girls actually exist in the real world and are in a sense closely related to Otaku Guys, so the line between fantasy and reality can blur quite a bit. It’s sort of like how most people probably wouldn’t realize that a model’s photo was airbrushed, or that the situations that occur in porn have very little chance of actually happening, but because we associate those things with “reality,” e.g. photos are realistic, we as people can be susceptible to their illusion.

Basically, while I don’t think there’s an immediate danger involving confusing the Otaku Girls in Anime with Otaku Girls in real life, there is a sort of precedent.

I of course also agree with the notion that as strong a character and as realistic as Ogiue is, she’s still just a character in a story. Though I can still hope…!

Another interesting point Tamagomago talks about is what I translated as the “exceedingly shaky” foundation upon which otaku build their preferences for women. I mentioned an earlier example of confusing fantasy with reality, but this one is particularly interesting as it’s almost an inverted example from the one above.

What we have is a situation where an otaku will take a realistic goal, i.e. finding a girl that can relate to them, and using their doubts and fears to transform it into an impossible dream. In other words, they’ve taken what is real and confused it for fantasy, something not talked about quite as often in these conversations about moe we have on this internet.

Of course, the part that generated the most conversation was where Tamagomago said that the act of calling someone moe is “violent” because it strips them of their individuality. Perhaps it was my translation not being completely clear, but the point that Tamagomago was trying to get across was that real people are not anime characters. It’s kind of an obvious thing to say, but within the context of moe you’re using a term associated with fiction and fictional characters and attaching it to real human beings with real depth and personalities. Let’s forget the word moe for a second, and instead imagine that I was talking about one of my female friends and I said, “Her character development is excellent!” It’s still a compliment, but it’s kind of bizarre to use that kind of language with an actual girl.

One more note, I don’t really think calling girls fujoshi is that bad, especially as it’s taken on this specific meaning of “yaoi fangirl.” Words in languages are malleable things as much as some would like to disgree, and the word “otaku” is a perfect example of this as its negative properties have fluctuated over the years. It’s like, I know that the word decimate originally meant “reduce by 10%.” Do I care? Not at all.

So in conclusion, I can’t wait for Hirano Kouta to knock down Tamagomago’s door for daring to say that there’s no such thing as Otaku Guy Moe.

It’s Okay to Propagate the Idea that “Otaku Girls” are Moe, But…: The Aggression and Difficulty Inherent in Moe

Translator’s Introduction: This is a translation of a post by Tamagomago aka Makaroni-san for his blog, Tamagomagogohan. It’s a post talking about his feelings in regards to the moe-fication of female otaku by their male counterparts. Because it’s written in a somewhat casual style, I’ve altered the language in small parts to be a little less stiff. The paragraph formatting is different from the original, as I’ve tried to make it more friendly for English readers. Also, Tamagomago has a tendency to put key phrases into quotes, a property I’ve kept, though admittedly something gets lost in the translation.

There’s also the occasional meme or internet humor used by Tamagomago, and whenever that happens I’ve tried to find an English equivalent. Translation notes are at the bottom of this post.

In any case, please enjoy Tamagomago’s essay.

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It’s Okay to Propagate the Idea that “Otaku Girls” are Moe, But…: The Aggression and Difficulty Inherent in Moe

I previously participated in the magazine Gendai Shikaku Bunka Kenkyuu 3 (The Study of Modern Visual Culture Volume 3) with an interesting project titled “This is the Kind of Otaku Girlfriend I Want!”

Let me introduce it briefly.

In short, it’s a feature which in order to promote the concept of “Otaku Girl Moe” says things like, “Girls who are otaku are cute, aren’t they?” For instance, something like this.


“A girlfriend who will make a manga out of my embarrassing fantasies.”

…Does not exist! That’s what I think, but I’ve got to admit that when a situation like that is turned into a drawing, the result is dangerously cute. While there are a variety of complications inherent, there is definitely a strong emotion involved when a guy thinks, “Wow, she’s willing to go this far just for me?!”

But there’s no such thing. At all.


A girlfriend delivering a fervent speech about Sega.

Now this is possible. In fact, I’d like to have conversations this nice.
This is what I would call a good girlfriend. There’s no such thing as a bad person who likes Sega.

These sorts of anything-goes fantasies are the kinds of feelings I’m utilizing when drawing the “Portrait of an Otaku Girlfriend.” It’s not an artistic design, but rather one completely steeped in the kind of subculture that surrounds Gendai Shikaku Bunka Kenkyuu, and I do feel it’s the right decision to make.

I consider it to be the right decision because its topic is difficult to really take “seriously” as it were. It would probably receive snickering comments along the lines of, “Whoa, I get it! It’s definitely a fantasy… but that’s okay, isn’t it?” That sort of thing.

That said, in truth I do like the “Otaku Girl” character.

I’m an otaku myself, and so I have no trouble speaking about this stuff, but that’s not what’s most important here. Instead, having someone who’s capable of completely immersing themselves in something, that is the real appeal of Otaku Girl characters.

Lucky Star‘s Konata, Kagami, and Hiyori. Doroko (Thundering High)’s Rin and Chouko. Rakkyou no Kawa (Shallot’s Skin)‘s Maki, Tsukiko, and Ms. Shiogama. Every character in Comic Party. And others still.

Seeing that Otaku Girl characters do actually exist, it then might be possible to have Otaku Girl characters that are “moe,” and can thus be looked upon with adoration. But with this “Otaku Girl Moe” concept you have a mountain of problems piled high up, acting as an obstacle. The “Otaku Girl Moe” genre is one where you just can’t quite get a proper foothold.

The reason is that there’s actually a kind of violent aspect connected with moe.

Hold on, I’m about to do some serious thinking.

From the Very Beginning, Some Went Down the Wrong Path

How female otaku became a topic of conversation is itself a conversation from long ago with no clear origin. However, one particularly important point at which the discourse changed was with the arrival of Genshiken.

With the introduction of Ohno and Ogiue, the topic of conversation became “Girls Who Like ‘BL.'”


The blunt and honest Ogiue is very cute.

The reason why we have someone like Ogiue, who has such a disagreeable and problematic personality, is of course to create in the story a character with whom the reader can easily relate and empathize. The core of Ogiue is that she’s a girl who with honesty and seriousness approaches life with everything she has.

Then there’s Ohno, who claims, “There’s no such thing as a girl who hates homos!”

Oh, of course it’s useless to actually accept them as real. THAT’S THE JOKE.

In one sense, I feel that the idea that “Female otaku go through life giving all they’ve got despite their suffering” has really picked up, and it’s something that’s being drawn quite often now as a result. Genshiken is a splendid work. But we must never forget that, in the end, we’re talking about “manga” here.

No matter how realistic it gets, it’s still a fantasy.

I don’t really think there’s many people who will tell me, “Hey that goes without saying,” but I want to point out that it does not, in fact. As proof, three years ago there was a misunderstanding by the media, and from then onwards a strange and unusual searchlight was placed on the “fujoshi.”

A character who really likes BL is fine when that character is in a 4-panel gag strip. However, when that becomes a sought-after quality in real life, well there’s a big problem. To start with, when actual girls are called fujoshi, I believe they are being done quite a disservice. When you get down to it, doesn’t it sound like a masochistic joke? Even if there were people who called themselves “disgusting otaku,” to be called a disgusting otaku by people I don’t know would elicit the same negative reaction from me.

Certainly, within the context of a manga, Girl Otaku are lovely. But to have written articles for the purpose of riding this wave, with statements such as “Right now, fujoshi are in!” and “How to get fujoshi to fall for you!” and then to have those statements be given in all seriousness, to actually see these things written for people, why it made me dizzy.

C’mon now, it’s just their hobby, you know? Just treat it as a hobby, and then leave it alone.

And then there’s the problem where female otaku in general are now being bunched in with those whom we would call “fujoshi,” and men’s magazines are marginalizing female otaku as a whole. That’s the worst part of it to me.

Then again, men’s magazines already give tips on how to hit on women. Considering the condescending nature of these magazines towards women, you really can’t expect much else.

For the sake of completely removing themselves from the path of sensibility, some have come to accept a great and terrible and very 2D idea: “Otaku girls sure are cute!” Well that’s obvious. But when it comes to actual girls, those same guys will just be all, “Hey, leave me alone, okay?”

It is never a good idea to confuse the two-dimensional world with reality. Ever.

If this strange fad had never caught on, if these guys and girls could simply realize the charm of being people who live for their hobbies and interests and then use it to attract others, that would have been just fine. However, it seems we’ve gone and removed ourselves from that path.

The Foundation of “Moe” is Violent

To see someone actually say, “This is so moe,” and actually mean it is quite mystifying. That’s because declaring something to be “moe” is an extremely violent act in the first place.

In cases where someone is moe for a two-dimensional tsundere character, it’s really just a matter of holding a commanding view of the character, or, perhaps, it’s a matter of cherry-picking what’s convenient. There are no alternatives. If that girl character suddenly strays from the supposedly correct path and gets closer to another guy, it’s often the case that some people will just abandon her. It’s not impossible at all. Because when it comes to “moe,” all you’re looking at is just one aspect of a girl. It’s not impossible, that is, because it isn’t “love.”

However, when it comes to two-dimensional characters, I think this is fine. Those who are capable of loving a character to the very end are wonderful and all, but there are those characters who can only be loved so much. That too is nature’s providence.

They are containers to hold and store the desires of aggressive humans.

But what happens when you take that idea and apply it to reality?

“This person is different from what I expected!”

“This person’s changed compared to what I thought they were!”

The only outcome then, is denial of the other.

These are individuals we’re dealing with here. You’re free to say, “I fell for you,” or, “I love you,” but don’t ever say to someone, “I’m moe for you.” It’s a violent act in which you try to deny them their individuality.*¹

The reason tsundere and maids have been so successful is that they are two-dimensional characters clearly separate from the real world. And sure, there are actually things like tsundere cafes based on these memes, but no one in reality would actually want or desire a tsundere. Even if you unexpectedly fall in love with someone who gives off a tsundere vibe, given enough time that fictional character-type image you created of her will go away.

But of course “female otaku” are not uncommon. Nevertheless, unlike “Shrine Maiden Moe,” “Nurse Moe,” and other similar types of moe, female otaku are to some degree in possession of a “guilty conscience,” a conscience which causes these girls to exclaim, “Leave us alone!” Particularly, those who like BL live their lives burdened with hardships, as they’re confronted with tons of people saying either, “Moe!” or “Give me a break!” in response to them.

“Female Otaku Moe” is a Fantasy

Based on what I’ve read and considered, the true identities of these two-dimensional “Otaku Girls who get the guys feeling moe,” so to speak, are “girls who act like guys.” Of course, I think the easiest example to understand is Lucky Star’s Konata. While she has some feminine qualities, her nature and her desire to collect are extremely similar to that of male otaku.

She immerses herself in her hobbies, and while she’s a little rough around the edges she gives it her all. Occasionally her eccentricities show. Rather, she doesn’t really bother to try and be more “feminine.”


Even if this girl was a boy, she wouldn’t feel uncomfortable at all.

‘s why she’s cute.

If we were to turn this around, it’s like otaku are saying, “A girl whose tastes are like mine, a girl who I can speak to honestly without pretense, isn’t that just a dream?” and so the manner in which they’ve developed their taste in girls is exceedingly, and I mean EXCEEDINGLY shaky.

If I were to rephrase the above paragraph, I would say that I think of it as a matter of wanting someone who understands you and enjoys being with you.

Whenever someone says, “Girl otaku characters are cute,” I want you to understand that by no means are they saying that they harbor an excessive amount of sexual desire for real actual female otaku, or that they want to sleep with those female otaku.

For the guys, this is considered “fantasy” and is viewed as a line that will not be crossed. Thought of in that manner, girls then are just a source for “memes.”

If that’s the case, this seems like a good time to talk just a little more about the moe that I myself haven’t been able to exclaim, the “Girls who are otaku are cute!” moe.

It would be strange of me to say, “Don’t moe them!” so I think it would be nice if we could find some kind of balance or harmony.

On one final note, people who with all earnestness engage in otaku activities are in a sense guys and girls filled with enthusiasm, which gives them a certain charm, no doubt. …Right?

———————————————————–

Addendum.

There have been a lot of otaku marriages recently. How nice…

But these aren’t people saying, “I married someone because they’re an otaku,” so much as, “I married an otaku I fell in love with,” and nothing beyond that. These are normal marriages, no more and no less.

Hmm. In comparing “Female Otaku Moe” to other types of moe, there’s too great a sense of reality with the former, and because of that it’s also become a rather harsh subject to approach. Nevertheless, if we accept the logic that “a girl who’s engrossed in something is cute,” it’s inevitable then that we would see girls who are “into” the “otaku culture” so close to us as being cute, and that the level of demand stemming from this preference would rise greatly. However, there’s pretty much no such thing as “Otaku Boy Moe.” At all.


Gendai Shikaku Bunka Kenkyuukai 3 (Sansai Mook Vol. 3)
(The Society for the Study of Modern Visual Culture 3)

Sansai Books


Rakkyou no Kawa—Moero! Morinomiya Koukou Manga Kenkyuubu (6) (Gum Comics)

(Shallot’s Skin!—Get Moe! Morinomiya High School Manga Club Volume 6)
By Abekawa Kineko
Wani Books


Kyoumeiseyo! Shiritsu Todoroki Koukou Toshoiinkai 3 (ID Comics and Zero-Sum Comics)
(Resound! The Thundering Private High School’s Book Committee! Volume 3)
By D. Kissan
Ichijinsha


Mousou Shoujo Otakukei (5) (Action Comics)

(Fujoshi Rumi Volume 5)
By Konjou Natsumi
Futabasha

If there’s any title that has a relative balance of the realistic and the cute, it would be Mousou Shoujo Otakukei. It doesn’t bother to hide its sharp edge and instead thrusts at you using bitter words like “disgusting.” It’s not just a series which remains closed to outsiders while shouting, “LONG LIVE OTAKU!” But as we all know, lively girls are adorable.

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*¹ Idols, maid cafe maids, and others involved in constructed roleplays excepted.

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Translator’s Notes:

Moe: This is a very difficult word to translate, not because the word can have multiple meanings but because the meaning can change drastically depending on who you’re talking to. It means something along the lines of “passion” or “infatuation,” particularly for fictional characters, and often for characters who are somehow weak or deeply flawed.

Otaku Girl, Girl Otaku, Female Otaku, etc.: Tamagomago uses a variety of phrases to say the same basic concept of an otaku who is a girl, and so I’ve tried to vary it accordingly, but it’s still not 1:1 because I didn’t want to use crazy phrases like “Otaku Lass.”

BL: Stands for Boys’ Love, refers to the genre of guy-on-guy action targeted primarily at female readers. I know most of you know this, but I’m being safe.

Fujoshi: A slang phrase used to refer to girls who are obsessed with Boys’ Love. A pun on the Japanese word for a lady, the kanji used with this Fujoshi (腐女子) literally means “rotten girl.” A frequent topic on this blog.

Disgusting Otaku: In Japanese, “キモオタ” and pronounced kimo ota, an abbreviation of kimoi otaku.

THAT’S THE JOKE: The actual phrase used here in the Japanese is “ネタをネタだと(略” which is an incomplete way of referring to someone who doesn’t realize a joke is a joke or that a meme is a meme. I used the popular quote from Simpsons character Rainier Wolfcastle’s movie, McBain: Let’s Get Silly.

Genshiken: A manga by Kio Shimoku about the lives of otaku in college. Published by Kodansha in Japan and Del Rey in the US and made into an anime by Palm Studio and Studio ARMS. If you aren’t familiar with Genshiken, I suggest you read it, seeing as this entire blog is devoted to one of its characters.

Gendai Shikaku Bunka Kenkyuu: Despite being similar to what “Genshiken” stands for, this is not the above-mentioned manga but rather an otaku-oriented magazine, or more specifically, a mook.

Mook: Magazine + Book. Used to refer to publications which focus on a single topic, thick but bound together like a magazine. The Gundam series tends to get a lot of mooks.

Lucky Star: A 4-panel manga by Yoshimizu Kagami about an unabashed otaku named Konata and her three friends in high school. Published by Kadokawa Shoten, it was turned into a very popular anime by Kyoto Animation.

Doroko: Short for Kyoumeiseyo! Shiritsu Todoroki Koukou Tosho Iinkai, a 4-koma high school comedy which occasionally switches to a more normal panel format, kind of like Azumanga Daioh.

Rakkyou no Kawa: Short for Rakkyou no Kawa-Moero! Morinomiya Koukou Manga Kenkyuubu. A manga about a “former” otaku in high school.

Comic Party: Originally an erotic game by Leaf/Aqua Plus about doujinshi artists, it has been converted into a variety of media.

Mousou Shoujo Otakukei: Released in America as Fujoshi Rumi. The manga is about a high school girl who loves BL and yaoi. Published by Futabasha in Japan and by Media Blasters in the US.