This past month saw the unfortunate passing of Miura Kentaro, author of Berserk.
“I can’t believe it…Berserk is actually…”
“Whether it was his art, his storytelling, or his characters, he poured his overwhelming passion into everything. I’m trying to find the right words, but I don’t have them…My deepest and heartfelt condolences for Miura-sensei in his passing.”
Shin Evangelion Reaction
“I saw Shin Eva. It wasn’t an illusion. It wasn’t, right…?”
Kio watched a recording of The Professional: Anno Hideaki where Anno says, “I’m okay with dying for my creations.” This made Kio’s head spin. (Having come so soon after Miura’s death, it seems to have hit Kio extra hard.)
A rough nude sketch of Ogino-sensei from Spotted Flower and a preview of the next chapter out.
Kio’s first drawing of first-generation Kasukabe Saki from Genshiken in many years.
Kurotaki Mai from Hashikko Ensemble.
Otaku moments with Hasegawa, previously posted on the @hashikko_music account. She worries about having accidentally outed herself as an otaku, but when asked if she’s a fujoshi, Hasegawa responds, “That isn’t the setting this time.” Also, when Shion expresses interest in Miyazaki anime, Hasegawa considers going into the deep end: Horus: Prince of the Sun, Panda Go Panda, Heidi, 3,000 Leagues in Search of Mother, Anne of Green Gables.
More previous art. Orihara loves the “AMEN”s, and Hasegawa does a pose from what I believe is Hellsing?
The pet tortoise
Kio explains that the “broken Gouf leg joint” incident from Genshiken wasn’t exactly based on reality, but he had a similar experience as a kid. In a later tweet, though, he realizes that the reason it happened to him is because model kits in those days didn’t use polycaps on ball joints, which made for a less maneuverable limb.
Kio quit his habit of downing energy drinks before starting his work.
Another month of Kio Shimoku tweets is here! The guy has finally learned how to thread tweets, which makes things easier for me. A lot of the month was promoting his books, as well as other titles in Rakuen: Le Paradis, where Spotted Flower runs.
Crossover Images Featuring Genshiken, Hashikko Ensemble, and Spotted Flower
Also, it turns out that teenage Madarame, Tanaka, and Kugayama doppelgangers (in an actual Genshiken club) actually did make a cameo in Hashikko Ensemble!
Old drawings from the @hashikko_music Twitter. In the first, Hasegawa is commenting that Sue has a nasty expression. In the second, Himari is about to make the same comment about Ogino-sensei, but is struck by their similarities.
More old drawings from the other account. This time, it’s Not-Sue holding Himari, only to realize it’s not Ogino-sensei.
Ohno and Mimi-sensei…and also Shion, who wants a grab.
Sleeping Tortoise Pose Series. Pose: Manji
Kio recalls a moment from 10 years ago, where a stray cat was curiously poking at the tortoise as the latter slowly tried to scuttle away. He remarks that, amazingly, this is the same tortoise who now actively rams the window asking to be let in.
Here’s how the turtle crawls in.
Thanking Taniguchi Jun’ichirou for his animation work on Genshiken. This includes Nidaime and the original series, where Taniguchi and Mizushima Tsutomu (who would later go on to direct Nidaime) worked on the infamous “nose hair” episode.
And another old drawing about washing your hands. I believe this was from early on in the COVID-19 pandemic.
Kio bought an L-Gaim model kit!
Kurotaki Mai from Hashikko Ensemble with extremely realistic bunny ears.
Heartache and bracket upsets abound in Hashikko Ensemble, Chapter 35.
After being rejected by Kousei, Shion is emotionally devastated. Yukina asks why Kousei would word his rejection so harshly, while Jin correctly (and inappropriately) brings up Kousei’s mom as the reason he doesn’t like to deal with girls. At the same time, seeing Shion confess to Kousei has put Akira into a funk, which impacts his singing as a part of Tsuyama’s group in the school music competition (once again, Akira got roped into participating with them as well). Combined with a lack of practice and a focus on girls over music, the “Tsuyama All Stars” are defeated by a group of otaku singing an iDOLM@STER song.
Dropping out in Round 1, all of their girlfriends instantly reject them as losers, and Tsuyama is on the verge of kicking Akira’s ass. However, Kurotaki Mai steps in to defend Akira by pointing out that Tsuyama and company’s song choice betrayed them, as they clearly lacked the conviction they showed when singing a Spitz cover at the previous competition against the Chorus Appreciation Society. The Tsuyama crew then realize the “error” of their ways and go back to worshipping Mimi-sensei. But Mai also criticizes Akira, and relays something that Jin taught her: the low notes are the foundation of harmonizing, and as possessors of deep voices, they’re vital to the success of their respective groups’ performances.
But right when everyone expects the Light Music Club to win their round, they’re actually beaten by a mysterious masked group calling themselves “Basso Masters.” Who are they, and why are there 52 of them?!
With all the romantic drama coming out over the past few chapters, it’s no surprise that a look into Mai’s inner thoughts would reveal that she has feelings for Akira as well. Sure, all the blushing and gratefulness since her introduction into Hashikko Ensemble was a pretty strong hint, but after giving Akira advice, she thinks to herself, “Liking someone who likes someone else…It happens all the time.” In a different context, it might come across as more ambiguous, but then it’s followed up by Himari seeing everything and reacting with a thought of her own: “…Ugh. Looks like she’s gonna be a real pain.” Himari is clearly seeing something there, though I’m still not sure how Himari herself feels. Being Akira’s childhood friend, is there something more? The love web somehow gets more defined and more convoluted as the story continues.
Meanwhile, Akira’s mom is there in person and seeing this tangled web of emotions in action, thrilled at her darling son experiencing the ups and downs of youth. As with the last chapter, I love how supportive she is, and when I think about something like Genshiken, the sheer parental presence in Hashikko Ensemble sticks out all the more.
It’s ironic that Tsuyama’s crew, the ones who made it look like music was the key to dating success and the most visible symbol that the school had changed, were mercilessly tossed aside by their girlfriends and are now back to square one. It’s a humorously tragic moment, simple in its brutality, but also speaking to the dangers of romance through prestige. Both the guys and the girls involved likely got into it for shallow reasons, though in what ways they were shallow changed. I could see Tsuyama and the others jumping at the very first opportunity to have some cute girlfriends, while the girls merely liked the cool cache brought to them by dating these guys. When Mai is telling them off, she mentions that their song choice was clearly made in order to please their girlfriends, who know nothing about music and shouldn’t have been such a significant factor.
It’s implied that their devotion to Mimi-sensei was on a whole other level, and that whatever they were feeling for their girls just wasn’t quite the same. I feel sorry for Mimi-sensei for having to deal with them again, and it’s not exactly a happy ending, but i am amused by how confused she is in the aftermath.
Jin Is Never Smooth
Some chapters ago, I wrote about how I think he’s supposed to be a non-neurotypical person, which came through in his inability to understand the more emotional and subjective aspects of music. Now, he seems incapable of reading the room, and loudly blurts out something that hits at Kousei’s greatest sore spot: his neglectful and abusive mother. I can’t quite recall if Jin has all the details about Kousei’s life, but just about anyone else would have known to keep quiet about it. Although nowhere near as terrible, Jin doesn’t have the best relationship with his own mom, and I wonder how much his social awkwardness (whether or not it’s due to a psychological or physiological condition) contributes to that tension.
Tsuyama All Stars: “Pretender” by Official Hige Dandism
Team “Promise” (a bunch of otaku): “Yakusoku” (Promise) from The iDOLM@STER
Half Monks: “Guts Daze!!” by Ulfuls
Electrical First-Years Acapella Group: “Cruel Angel’s Thesis” by Yoko Takahashi (electronic version using Vocaloid software)
Light Music Club: “Ai Uta” (Love Ballad) by GReeeeN
Basso Masters: “Daichi Kinshou” (Hymn of the Earth) from the cantata “Tsuchi no Uta” (Song of the Land)
I appreciate that the competition has a nice mix of genres and sources—including pop, rock, anime, and classical—from across the decades. The performances themselves also showcase different ways to make music, and I would love to see the electronic version of “Cruel Angel’s Thesis” if this ever got made into an anime.
You can find the above songs, along with previous references, in my Hashikko Ensemble Youtube playlist.
A group of 52 singers showing up incognito is sure to cause a stir, but it also makes me wonder if they’re actually another school in disguise—maybe Nishigafuchi. The combination of their song choice and their sheer numbers makes me think they’re not from around these parts.
Fierce (?) competitors lie in wait in Chapter 34 of Hashikko Ensemble!
The school’s cultural festival has suddenly turned into a battle of the bands, and the Chorus Appreciation Society is in a 16-band bracket to see who comes out on top. Among the groups participating are a number of familiar faces: Kurotaki Mai (the deep-voiced girl who once saved Akira), Tsuyama’s crew, Mimi-sensei and a group of teachers (with Takano-sensei on piano), and even the Rugby Club that tried to recruit Kousei.
During this, Shion is visibly bothered by Yukina’s presence and closeness with Kousei, all but confirming her having romantic feelings for him. But when Kozue asks why Yukina’s into Kousei, her answer absolutely flabbergasts Shion: “Cuz he’s cute.”
Mai’s band wins, and the teachers forfeit their match because all they really wanted to do was put on a single performance. The Rugby Club is going directly against the Chorus Appreciation Society in the first round, and to everyone’s surprise, one of the players, Sora, asks Kozue to go out with him if the Rugby Club wins. She agrees but only as a form of rejection—she actively encourages the audience to reject their opponents and Sora’s convenient love story in the making. However, the Rugby Club turns out to be better singers than she anticipated, meaning it might not be such an easy win after all.
A School Tournament?!
It’s not surprising to see tournaments happen in Hashikko Ensemble. After all, if they’re going to eventually be in bigger events, the Chorus Appreciation Society is going to have to see some long competitions. However, this is quite different from the more refined environment and structure of the M-Con, the inter-school event they had previously they participated in as an exhibition.
I really like this direction, particularly that the series has suddenly become more about music in an interesting way by having music fever take over the school and generate all this excitement and energy. Also, while it’s indeed looking to be a tournament arc after all, “winning” seems less important than having all the characters reach their personal goals. Looming overhead is the powerful shadow of Jin’s mom (despite the fact that she hasn’t even shown up yet), and in a sense, she’s the real boss fight.
The increasing presence of romance in Hashikko Ensemble is all but undeniable. It’s not even that Shion’s interest in Kousei is clear as day now, but also the strange love polygon that now exists between her, Akira, Kousei, Yukina, and maybe even Mai. What’s more, there’s also the lovey dovey couple team (Yukio feat. Mayomyon) metaphorically tossing hearts into the air, and a public confession to Kozue from the kid who tried to warn his classmates about her judo skills?! And the latter’s going to be the most pressing plot point leading into Chapter 34?!
It’s not nearly as messy a relationship web as good ol’ Spotted Flower, but it sure is getting increasingly complicated.
Knowing this manga, I could see Kio swerving the readers by having the Chorus Appreciation Society lose in Round 1, and having Kozue reluctantly start dating Sora. There’s maybe one path of hope for the rugby player, which is that a person can earn Kozue’s respect through skill and power. In this chapter, she basically gushes over Yukina’s high proficiency in a huge array of industrial skills (including gas and arc welding, crane operating, etc.), so if the poor guy can show similar prowess (in singing or otherwise), maybe he can impress her. That said, it’s probably more realistic to see Kozue be into Yukina.
I was thrilled to see Mai show up again in this chapter—doubly so to see her singing. All signs have pointed to her becoming a more important character as the series went on, and while it’s still uncertain that she’s going to join the Chorus Appreciation Society, I’m still rooting for it. There’s also the matter of her previous interactions with Akira, and while he has Shion on the brain currently, I could see a future where these two get together instead.
I think Hashikko Ensemble has been emphasizing how different potential relationships can potentially end up being in terms of interpersonal dynamics. Chapter 33 highlights this by the ways that Shion and Yukina each view Kousei; the former sees him as brave, cool, and strong, while the latter looks at him like a cute underclassman. When picturing those two possible couples, they’re just so fundamentally different. But this is also the case imagining Akira with Shion versus Akira with Mai, which has a similar dynamic of two very different individuals on the one hand, and two very similar people on the other.
This time, I’ve included each of the groups participating in the tournament this chapter, followed by what song they perform.
Nighttime Festival Club 2.1:“Itoshii no Ellie” (“Beloved Ellie”) by Southern All Stars
Noi Majo (Kurotaki Mai’s quartet):“Hakujitsu” (“White Day”) by King Gnu
Yukio feat. Mayomyon: “Shibuya at 5 o’clock” by Suzuki Masuyuki and Kikuchi Momoko (You might recognize Suzuki as the singer of the opening to Kaguya-sama: Love Is War)
Teachers’ Angel (Mimi-sensei + other faculty): “Boku no Koto” (“About Me”) by Mrs. Green Apple
Rugby Club A Capella Group: “Zenzenzense” (“Past Past Past Life”) by RADWIMPS (as heard in Your Name)
Back in the pre-pandemic times, I used to go karaoke somewhat often. One of the most common songs among one of the groups was actually “Zenzenzense.” This chapter makes me want to learn all these other songs and bring them out someday. May there be a future where we can karaoke to our hearts’ content.