Dreams are sacred

Ok, I reconsider. I made a mistake. I went back and read more and I like it. I was wrong, it is funny and has a heart. No more snark about Kuragehime (Princess Jellyfish) shall be allowed in this blog. Two things lead me to change my mind. First, I let slip a rash judgmental dismissal of it at a certain conference while in conversation with one its (possibly strongest) fans, and I saw the hurt on her face. I shit-heel! If it can cause such a reaction, It must have something to love within it. I don’t make fun of love. It is pretty well the only thing we have going for us as a species.

Reason numero two: I last looked at it some 2 years ago, and I never clued in that the later-appearing wonderful autobiographical manga about art school and becoming a pro mangaka; Kakukaku Shikajika was drawn by the same person. Then I hit an author’s comment section and HEY WAIT A SECOND! this looks familiar! Duh! Akiko Higashimura… I love that manga!  I had a couple of excellent teachers at art school. I felt a twinge of nostalgia and guilt when I read Kakukaku. What have I done to justify all the extra effort they put into teaching me?

Besides, now that jellyfish is well into 70 something chapters and 14 volumes, it must be recognised as a force majeur in the depiction of female otaku/ collector maniacs/ social isolates/ fujoshi. I note that they, like the Genshiken fujoshi, come in a variety of body types and over-subscribed enthusiasms. This series pretty well holds the patent on the trope. The crossdressing male lead initially raised suspicions with me for two reasons: The crossdressing male who would teach females how to present as females is an annoying cliché and the magic rich kid (the rich are different from us) is frequently used to excuse all manner of plot holes, while the implications of a growing class divide in Japanese society are papered over. I should have read more. Perhaps he is more of a “positive subversion of the patriarchy” as some bloggers who burn powder about such things suggested.

Like the series’ advocate at the conference, the male lead is a theatre fan, as well as a fashion fan, and the mangaka seems to have done enough research (and/or shares in his enthusiasms – wait; she revels that she has re-married into the cloth trade!) to pull off his devotion convincingly. As well, clunky social class tropes get better use as the series progresses; the treatment of inequalities grows more important, sharper and more central to the plot and the comedy. When Kuranosuke Koibuchi explains away his family calling him “son” as a family tradition of being raised as a boy to be groomed for politics (a fast bit of bullshit to avoid being reveled as a guy to the other “amars” aka buddhist nuns?), the Rose of Versailles idiocy that follows is great low comedy.

As for the crossdressing: well, he still has “reasons” other than professed issues of sexuality. He absolutely wants to avoid the family business (national politics), he enjoys the company of women, and he really likes fashionable women’s clothes; he is an extreme fashionista. It’s his hobby – any problem with that? He still is a bit of a magic rich boy, complete with chauffeur, connections and a generous allowance and will do the stock magic- rich- boy- starts- a- business- on- the- fly- to- make- a- fortune- and- save- the- day routine, but so far the trope is being handled with enough detail and commotion as to move the story forward without jumping the shark. That plot was good enough for Sophia Loren some 50 years ago (minus any gender dysphoria) so who am I to complain? Add to this that both the boy and jellyfish girl have “lost mother” syndromes that fuel their devotions; to jellyfish, the theatre and high fashion, then add a ruthless fashion empire mogul who grew up an orphan and the characterizations grow to Dickensian proportions.

The brother's secret imagined

Jellyfish is not shy about hiding its shojo/ josei manga roots either. Because it is shojo (and/or josei) it is remarkably free of service for guys, which is curiously refreshing. Instead there are ironic floral panels and other rom-con tropes pushed to absurd lengths and service for the girls; a drunk cross-dressing boy collapses butt nekkid in our heroine’s hotel room before she is about to be whisked away to Singapore. Then there are the more josei-ish plot lines: the brother’s romantic side-story is a wonderful mess of bad-girl seduction going awry and pure innocent goodness triumphing (or tested and soon to triumph – but I didn’t like the plot turning on a slap – I will assume that it is a mouldy true- romance chestnut) It only serves to highlight the main trick most of the comedy and 3/4 of the characterization that drives the story forward: none of the characters are really up to their schemes (except perhaps the once-orphan clothing mfg tycoon – just wait, he’ll get his too!)

Then there is the fun with the amars: They and their social isolate friends seem to just be waiting until that pig Dr. Mallion gets his mitts on them and bends them to productive ends. (apologies to Dr. Ralph Von Wauwau). Well, sort of… The faults of the amars run very deep and so they will screw up even the simplest of operations. It is a miracle that they can feed themselves, except that they need some survival skills for the perpetually meat-starved ronin/ neet trope that also pops up a bit too often. Perhaps they should have tried opening a restaurant?

Hello? Work?

Finally, it is hard to avoid noticing that jellyfish refuses to shy away from the economic and social malaise in Tokyo that has crushed down young, middle-aged and old alike, hollowing out the economy, the city and the lives of people. Nor does it hide the profound fear that is very much a part of our heroine’s shyness; the turn to stone thing is funny, but our heroine about to go on a date is whole other level of realistic, raw trauma. The comedy has an edge to it.  What saves it from being mean and depressing isn’t that the characters; the girls and the boy are so odd, but that they love their enthusiasms and have begun to dream.

So, Kuragehime for the win.

Dreams are sacred.

On that note, Genshiken 104 raws are out! Both Hato-chan and Yajima get their  newest works examined by Ogiue. Much blushing ensues.

Scooped!

I'm not a Fan-boy..

I’m not a Fan-boy..

Dammit, beaten to the punch!

Fandom is less like being in love than like being in love with love.” – Michael Joseph Gross.
“Is it possible to tell the history of popular culture, not through celebrities, sports teams, or television shows, but through their fans? The exhibition Love to Love You brings together artists who explore fandom as a unique opportunity for shared social experience and extreme personal obsession. For many, being a fan means entering a fantasy world of devotion. Fandom transcends material consumption and becomes a fictional space in which people play out their hopes and dreams. In this sense, looking at fans tells us more about the emotional and cultural attachments we form to objects than about popular culture itself. Using a variety of artistic approaches, the artists in this exhibition explore the lived experience of fandom as both a personal and social force. These artists present fans, not as passive spectators, but active participants in culture.”

From the Love To Love You, Exhibition Brochure from The Massachusets Museum of Contemporary Art (MASS MoCA)  http://issuu.com/massmoca/docs/lovetoloveyou

Return the gift

Too much in the way of non-Genshiken fun this last month in the few still moments between the shit-storm of IRL work pressures. I even managed to make it to an honest-to-goodness academic conference (ostensibly discussing theoretical approaches to fan studies) full of very enthusiastic slash-fen! Aimed for Kousaka-level “Wow! Great work!” interactions but probably only managed lurking Kuchiki status. Just like Genshiken; except the clubroom was full of Kaminaga-level rotten girls who also happened to be graduate and post-graduate researchers. It was fun in an odd way: They all were happily glowing in the lights of their enthusiasms. They were wonderful! I wonder how the other 3-4 (one via Skype) guys present felt?

Much about the conference and the useable insights generated therein will have to wait, but by way of an appetizer, here is an odd bit of compare and contrast social anthropology: Japanese rotten girls KNOW that the larger public knows of their tastes, and that franchise owners will bait and pander to them. They enjoy the attention, all while seeking to subvert it and make it (once again) their own private party.

The Western, anglo-euroethnic fan-girl/ slash enthusiast still for the most part thinks that she is still in deep cover and that her enthusiasms are protected by elaborate secret handshakes, passworded forums (forii?) and segmented arrays of divergent fandoms that make it hard for the man to gauge, market, monetize and pander to her tastes.

I hate to break it to the wimmens, but your secret is out.

Oh, and us guys had better get used to a whole lot more goggle-bait; pseudo-m/m homosexual looking wink wink nudge nudge moments tossed into every damn tv show, movie and performance from now on until the end of time. It is not a gay plot; but It is after your girlfriend, your sister and your mom. Get used to it!

Capitalism knows no country, and it cares even less about gender norms than it does about citizenship. TM

Last month I had decided to catch up on the Dr.Who franchise, and ploughed through season 3 of Sherlock. The wedding episode was good, the other two felt clunky. As well I decided to see what the spin-off lads (and lassies) at Torchwood were up to with the Children of Earth season/arc. Just a bit of light video to decompress from work, along with a re-watching of The Fifth Element (Whooohah!), the CGI Harlock, Tim’s Vermeer (you must see it!), Beyond the Boundary (good), a quirky electric girl anime (almost an ikumen story) and massive amounts of odd you-tube clips (pulse-jet bicycle exploits, Japanese media arts installations, etc.) Interactive maps of geo-tagged cat pictures from around the world and everything by Charles Stross I could lay my hands on.

Imagine my surprise when some of the fen at the conference started going on about the near sadomasochistic interaction between the producers of certain BBC franchises and their female fandoms. Pander in a way that appears to be listening to the fen-base but then lie and deny any influence. Feelings within the fen-dom are a bit hurt. Some of the more LGBTQIA activist fen even went so far as to characterize this behaviour and the trolling within the series as Gay-baiting.

Gay-baiting?

Oh yes, ‘dem nasty BBC producers are sneaking all that stuff into Torchwood, Dr. Who and Sherlock to attract a gay male audience, yup, right! The could not possibly know of the super-secret covens of squeee-ing fangirls… No way; still a deep dark secret, nobody here but spinsters with cats and Harlequin romances; pay no attention, these are not the fans you are looking for…

Ship and ship again!

Please pull the other one, it has bells on it.

If the producers wanted a gay male viewership they would invite them directly, Same for a lesbian demographic. They for example, would not have Torchwood‘s Ianto Jones mouthing the classic “It’s only him” (“I’m not gay”) line a few episodes before he is dramatically killed off.

“It must always be: “I’m not gay, it’s only him” for maximum fujoshi squeeee!”
-Slavoj Žižek, Introduction to Transmedia Marketing Strategies,
Tessier-Ashpool Marketing Associates, 2011, Chapter 2; The Fangirl.

Nor would the producers of Sherlock dare to do the Holmes casual “I’m a pederast, Watson is my lover” throwaway line to shock some annoying idiot at a dinner party, as some of the earlier Holmes side-story movie (c.f.Seven-percent Solution?) did. Even if you can play with a furious Watson for a few minutes… Nope, It’s all left to Mrs. Hudson.

You cannot keep the fangirls interested unless you tease and tease and tease again but never resolve. This leaves them acres of space in which to fan out, ship and fanfic. Close the gaps and you lose the magic. Admit to baiting them and again you lose the magic. Add the potential of copyright lawsuits to the mix and stir, Mmmmm: secret secrecy recipe!

So the term you want, but avoid using, Oh dear sisterhood is Slash-baiting, and it is aimed dead cold at you, with low orbital ion cannon.

They know very well that you exist.

I admit it is a bit of a hurdle for the 30+ cis-gendered straight male mind to digest at first, but once assimilated it is very easy to understand and process… (Unless the lacanian wound opened by the realization causes you to go all obsessive study-study-study about it…) And turn into marketing. No more hiding. No point.

I would also venture that these BBC producer guys probably draw their understanding of the phenom from casual literature about Japanese fujoshi (and their diaspora sisters) as the fujoshi is a more unified concept than the diffuse tribes of western slash-fen. These marketing types are a scary analogue to Hato; spam-bots trying to masquerade as fujoshi. Corporate cross-dressing as a Turing test.

Once again; instrumental profit-accumulating enterprises don’t really care about meat-ware concerns like citizenship, sexual politics or even ideology beyond base levels that favour self-preservation. Fox News would go hard Maoist if it could make more money that way, or at least spin-off a clone division to capture that market.

“Transgression, sex and networks; these were all on his mind when Glashwiecz phones again.” -Stross, Accelerando

Whew! That Charles Stross stuff came in handy. He wasn’t the first to notice any of this but his restatements sure are elegant.

A similar effect is underway in what I like to call immersive marketing spaces or marketing V3.0 which has been enabled by the web 2.1 clutter of feedback/response channels.

So the producers, writers, stars and even virtualised characters will blog, twitter, tumbler, meet, greet, con, self-fic, self-dojin, sign autographs, reply in the letter columns and publish fan-art on the back pages of the monthly magazine. In fact they MUST do all of these to %110 and the minute a new tactic of pseudo-intimacy with their consuming public is developed it must be massively and parallel-ly implemented across the franchise. Welcome to the permanent corporate cross-platform, multi-channel selfie from now until the sun grows cold.

Present state of the art in Japan runs from %60 in manga to %95+ in Visual-Kei.

Western fen/fans: prepare for the onslaught, it approaches like a thief in the night.

Don’t let this bullshit kill what you love.

In the meantime, watch the marketing droids occasionally screw up and have a good laugh.

I betcha they try to sell you Sherlock’s boxer shorts.

and righteousness like a mighty stream…

Congratulations to the 2014 Hugo winners, with special congratulations to John Chu for his short story: The Water That Falls on You from Nowhere, which can be read at  http://www.tor.com/stories/2013/02/the-water-that-falls-on-you-from-nowhere.

I am highlighting this story for a few reasons. First there was a bit of a trolling controversy set up in the nominations this year and it looks like the fans who voted for the Hugos were less than impressed by the trick. The sci-fi community has had plenty of similar controversies in the past, including entire religions trying to game the system.

Good try, nice of you all to drop a high school debating club gambit into the fandom… Not!

More importantly, more stories like John Chu’s The Water… are exactly what are needed to again show that the entire opening up of the field of narrative, of story-telling by voices that have previously kept (or been kept) silent is a great, honorable, beautiful and needed thing. And it was done with such heart; the minimum of sci-fi tricks; no scaring the horses; a real class act! Damn! What a sweet love story, with guys… (1)

And because this is a blog about Genshiken, manga, anime and games – mostly from Japan, I hope that some Japanese rotten girls get a translated copy of this story, find it boring and then realize that while they can still make their own personal hawt fantasies, something that is closer to “authentic” and “not-other” is sitting off to the side waiting for them whenever they are ready for it. Some of them already are. Heck, this one should be emailed to a whole bunch of -insert your fave ass-hat bigot- for- profit here- but they would ignore it and/or just use it as proof of some damned conspiracy or another.  That’s what they do to put food on the table; it is the banality of evil made even more stupid and banal.

Oh K-rist must stop now…

As for a whole bunch of the rest of us; including a middle age cis-gendered het guy like me who is still working on getting the stupid bogie-men of all manner of different prejudices learned in my youth out of my wetware, stories like this are a relief from the aforementioned bullshit that makes up “the culture wars” (2).

Glad I developed the sci-fi habit way back when – It helps a bit.

Well done and well done!

Thank you John Chu.

PS: Yup; the majority of fans who voted really meant to prove that heartfelt writing, even if dealing with history, gender politics and stories deserved applause, hence the award for “Best Related Work” / Best Fan Writer essay: We Have Always Fought: Challenging the Women, Cattle and Slaves Narrative by Kameron Hurley  http://www.sfwa.org/2013/05/guest-post-we-have-always-fought-challenging-the-women-cattle-and-slaves-narrative/ …Just in case the high school debating club team didn’t get the message: -FLICK- on de ole forehead… (And not in any way to say the essay won for controversy and not quality – dammit everything goes sideways when the little politiks games intrude.)

 Meanwhile in the non-controversy department, Equoid by Charles Stross http://www.tor.com/stories/2013/09/equoid  (Wow thats 3 winners all free and legal for the web-reading!) Is buckets of Lovecraftian fun, with 3 more freely available “Laundry” tales out there as well.  

Thanks and congrats to these writers and their web enablers/ crew/ co-conspirators for the fine reading materials! Guess I can stay off the manga aggregator sites tonight,

Random Endnotes:

1) Later: Zeitgeist time? The fans voting for the Hugos had no way of knowing that the gentle “Love is Strange” movie was about to be released. see:  http://www.slate.com/blogs/outward/2014/08/22/love_is_strange_anti_lgbtq_workplace_discrimination_happens_in_real_life.html

2) Later again: So I gushed enthusiastically about this story to a married lesbian friend and she shivered when the “meet the parents” theme came up. I then made a few noises about how painless it was for a stick- in- the- mud- straight- guy to read a m-m gay romance story. Her very gentle rejoinder: “Don’t worry, a lifetime of reading het stuff hasn’t turned me straight”. Extreme Duhhh!-on- me moment!

Thus love betrays us

Warning: plenty of gender role issues and stereotypes are going to be tossed around herein, and some may be handled clumsily in the course of inquiry and exposition. I’m reaching here – cut me a bit of slack…

In chapter 102 of Genshiken Madarame has finally ended up at Keiko’s hostess club and is drowning his confusion in expensive drinks, courtesy of salaryman Kugayama’s (AKA Kugapii) who thinks that what Mada needs is some conventional gender-role’d interaction with women.

Should have tried it this way

While the earlier idea of visiting a soap-land and “losing it” was discarded for something a bit less frightening, there is a strong undercurrent in the previous chapter of Kugapii seeking to fix Madarame’s distress by expanding his horizons in societally approved directions (Kugapii is also looking for a wing-man in his own forays into barely know territories). Madarame’s confusion and discomfort at finding himself happy with Hato-as-chan’s attentions; receiving Hato-chan’s valentines day chocolate; his revisiting of his josou game collection and his attendant male hysteria is all but announced as being the exclusive result of him being only exposed to the feminine through his interactions with the atypical Genshiken females. After Saki, it is all just much-younger rotten girls and one closeted cross dressing boy. Time for some “real” female interaction.

Keiko does not disappoint: Starting off as a proper hostess, she quickly drops her act and becomes the Keiko we all know and lurv, fully entitled to her personal judgements (honne entitled?) about Madarame and exasperated at him. Mada gets an earful and is relegated back to her fave “watermelon-boy “Wantanabe” status. (cue the beach scene – what happens to watermelons at the beach?) But the best part of Keiko’s rant is a full-page (plus a half-page wind-down) blast at Hato:

Bad Karma, a sensual obsession

So… Keiko is a transphobe? Or is this personal?

Before that, consider Keiko the hostess: At one extreme, solicitous and friendly. At another extreme, into direct personal scolding mode – so much so that her co-worker calls her on it. And then a few minutes later, subservient in her job-role; she cannot leave since she was specifically requested, nor politely (pull the other one – this must be a point-of-work-pride thing: the mark buys the drink without being asked) ask Mada to buy a round. Figure that the night’s festivities can easily run well over $500. Dude, you OWE Kugapii big time!

Why she invites Madarame back to her place after all this is a whole ‘nuther thing to be left for Chapter 103…

Aside from the fun possibility that Keiko is being re-written in as the villainous woman trope from a yaoi grinder, why would she “Irae Babylon! Mighty is thy Judgement!”? It makes her look like a bully, or at least someone loading up the howitzer to deal with a fly. As well she tries to make it clear; she cannot condemn Mada if he wishes to go off and find some man-love, but Hato (chan or kun?) is personally suspect and nothing but trouble – he has already done inconsiderate things to Madarame and can be expected to do more and worse.

What things? Where has she gleaned her information from?

Kio Shimoku has just expanded the field strength of his reality-is-reality Vs fantasy-is-fantasy motif, and he is edging into the territory of IRL controversies. After all, Hato-as-chan manifests only in the safe space of the Genshiken social, where Hato has gradually been elevated to VIP member and object of interest by the real (gotta use the polite academic term) cis-females therein. Whenever her fugue states and over-rotten episodes have caused fallout, Hato has been supported by the rotten girls, even as they occasionally essentialise him as a perverted freak behind his back (no, it is not Hato’s buttplug, it is part of Ohno’s costume). But now Hato has cranked Hato-chan up to 11, she is courting Madarame, visiting him, cooking for him and going full metal nadeshiko in his direction. Something about all this has set Keiko off, even to the extent of considering Madarame’s behaviour with Hato as being an injury to Saki.

How could that be?

Gen ch102 p19web

A polite and nuanced explanation that gives Keiko the benefit of the doubt would be that the fallout from Hato’s frustrating can’t decide liminality dance makes him a danger to himself/herself and others, but she doesn’t really have enough knowledge of the fine details of the Hato saga to pull that off. She is going by gut impression and what she knows and has previously frowned at: (in her view) a self-serving ego gratifying indecisiveness, a glimpse of Hato-chan getting much to close to Madarame during the neck-fugue state episode and her sudden enlistment into the harem competition. The combination carries a strong whiff of jealousy and bigotry.

competitionp21web

Getting bested by Angela or even Sue would be bad enough.

Is that the only reason why Keiko considers Hato not just “fake”, but dangerously- defective- as- a- human- being fake?

This sure looks like old-school canon transphobia, springing from the same sources as the derogatory term “trap”, and still a rather heavy bone of contention even within the gender-politics community, even if internal politics has shifted the goalposts a bit over the last 40 years. We humans like our “others” in neatly defined categories and boxes, and sometimes the violation of these categories can provoke a visceral, irrational disgust and over-the-top hate-on, especially when the category violation threatens the boundaries of our own chosen categories. Check your privilege time perhaps… or something closer to the sleep of reason and the monsters that wait beyond it. Checking privilege does little to de-fuse pure post-Lacanian psychobabble horror and that horror is regrettably very real. We need better tools to deal with it.

Amazingly, IRL culture wars surrounding this effect are spilling over into the popular media and even into the manga/anime bog- verse. And there are a lot of raw, exposed nerves on all sides of the arguments. If a few select articles in Slate and other publications are to be relied on, it seems that a small subset of trans-folk, who have worked hard to become the sex that they feel that they are, despite the body dealt to them at birth are viscerally cheesed off with the vulgar, lower-class, commercial behaviour of the drag demi- monde. Bricks are flying back and forth. Meanwhile some folks take the Judith Butler “presentation” paradigm as a gospel of liberation, while others feel that it is a deep insult; “I am not presenting as, I am!

http://www.slate.com/blogs/outward/2014/05/30/is_tranny_a_slur_or_an_identity_who_decides.html

Bleh(!) say others, transgression as an art form is a good way to shake up fascist hegemonies (you fascist…).

http://www.vox.com/2014/4/22/5639386/why-trans-people-arent-big-fans-of-rupaul-right-now

Well, at least some of them…

http://www.slate.com/blogs/outward/2014/07/24/is_drag_a_trans_identity_or_just_a_job_a_queen_explores_her_art.html

A few years ago I would have been scared spit-less to read about any of this stuff, and I am probably pissing off some folks by this clumsy vicarious little excursion into an area of personal politics that all sides hold very close to their core sense of being.

Why can’t everyone just get along?

Because why everyone can’t get along is the core of the problem.

Fictional representations in JVC tropes (and global pop cultures in general) only serve to further muddy the waters; the transgendered vs the trap vs the otokonoko vs the drag queen vs the might be gay – might not, might be trans, might not female impersonator vs the josou game’s better than female charas all serve as imperfect fun-house mirrors to bitterly contested spaces in the 3D ‘verse. And then they upend the problem by encouraging folks to go on little what-if excursions. They are only cartoon characters, right?

“”The culture surrounding “passing” is problematic as it classifies people who don’t or don’t want to fit into two narrow, relatively stagnant categories of male or female as problems themselves while simultaneously discrediting the “authenticity” of people who do have passing privilege. There is no way to win. A person who is not deemed masculine or feminine “enough” is ridiculed and reviled for not having correct body language; for lacking or for possessing body hair in “right” or “wrong” places; for not having hips or chests that are the “correct” shape; for being too tall or short, too broad or too slight; for not having one’s makeup or wig look “right” and so on.

Yet the corollary is that a person who does pass, who looks close enough to “socially acceptable” standards for femininity or masculinity is considered a “trap” or dishonest, which can also lead to that person being outed and attempts to harm or humiliate upon “discovery.” Some times even safe spaces are not entirely safe, as gender policing can also be a problem within the queer community.””
-http://odorunara.com/2014/06/19/revealing-and-concealing-identities-cross-dressing-in-anime-and-manga-part-5/

Gender policing eh? Sounds nasty:
http://bitchmagazine.org/post/the-long-history-of-transgender-exclusion-from-feminism

Yikes!

Perhaps it is time to pull a Schultz…

“I know nothing, I see nothing…”

Later: Ok, It’s not that big of a deal;  the minor fights at the edges of the great project of asserting the rights of all people have been going on for ages. See:  http://www.slate.com/blogs/xx_factor/2014/08/06/the_new_york_post_says_feminism_is_imploding_is_wrong.html

See also for this really neato pre-internet archeology article on AOL and FIDONET and early gay BBS forum activities (wow! Fidonet! that takes me back, never knew…) Looks like folks have been arguing this one for decades

” That policy prompted the Great Trans Debates and the Great Bi Debates every six months or so,” Goodloe recalls, “as everyone weighed in with their opinions of who counted as a ‘woman’ and whether bisexuals should be allowed in ‘lesbian only’ space.” -http://www.slate.com/articles/technology/bitwise/2014/08/lgbtq_nerds_and_the_evolution_of_life_online.single.html

Lookie at the new neighbourhood Kio Shimoku has written himself into.
Nawww, that is all just gaijin weirdness, they make a lot of noise, don’t they?

Come the revolution everyone will walk around wearing a biographical sandwich board stating their personal preferences and outlooks, as well as their personal histories and how they legitimately and authentically arrived at them, at least until we all wear Google Glass. Or perhaps as one really odd sci-fi writer has suggested we will all wear elaborate facial makeup markings to indicate what we feel like being TODAY.

Anything else is the salt-monster from Star Trek or its direct ancestor; CL Moore’s Shambleau 

Read it yourself and tell me it ain’t ‘nuthin more than medusa repackaged… https://archive.org/details/Shambleau19331948

A more reasonable alternative is the path of inclusivety, and a sensitive politically correct essayist should keep an eye on the best practices in the field to add letters as needed.

Extend Shields!

“LGBT: Abbreviation for Lesbian, Gay, Bisexual, and Transgender. An umbrella term that is used to refer to the community as a whole. Our center uses LGBTQIA to intentionally include and visibilize the Queer, Intersex and Asexual communities under our umbrella.” — http://lgbcenter.ucdavis.edu/lgbt-education/words-that-are-transphobic-and-why

Well, that sounds like a more reasonable approach, I hope it works out…

So… Hato is not indecisive or liminal or even suffering from gender-panic induced dissociative personality disorder: the Hatos are genderqueer (stuff your categories, we know what we like!) and since the Hato continuum is still a virgin in 2,5D land, despite having consumed two metric shit-tonnes of distaff pr0n, they are somewhat in the same space as Watamote’s anti-heroine Kuroki Tomoko.

Perhaps Keiko is simply pissed off at Tomoko-ish behaviour in Hato.

Living up to societal sex/ gender role ideals is hard for everyone. Hence the appeal of virtual/ fictional vacation tour packages at greatly reduced rates.. One essayist suggests another take on rotten-girl desire:

“For many girls, the pretty, but unmade-up boys of manga and anime are in fact far more like themselves than the huge busted, bombshell women that are both likely to inhabit anime [and] manga designed for men and boys, and that are a regular part of our western media viewing experience.

Blogger Kerryg (2009), writes about the mere possibility of the female gaze in her Hub entry, ―The Female Gaze. She argues that of course a female gaze exists, but is only beginning to appear in explicit ways (in the work of women filmmakers, such as Sophia Coppola). ―However, she suggests, ―it is much more common for women and girls to subvert the intended gaze of media than to create their own Gaze. For many, this is an unconscious process; for others, it is knowingly revolutionary‖ (2009). She cites the work of fangirls as evidence of this move, offering that they are “Re-cutting the world to match their eyes”.
– Bringing Smexy Back: Fangirl Production, AMVs, and Transgressive Sexuality, Elizabeth Birmingham – http://fansconf.a-kon.com/dRuZ33A/wp-content/uploads/2013/04/Bringing-Smexy-Back-by-Elizabeth-Birmingham.pdf

(The referenced Kerryg essay can be found here:  http://kerryg.hubpages.com/hub/The-Female-Gaze)

Which leads to a further weird digression:

I must take back any dismissive asides previously made in the direction of Ouran Host Club, thanks to the elegant exposition at: http://gaggingonsexism.wordpress.com/2012/09/02/what-i-love-about-haruhi-fujioka/
(the earlier cited paper on it  didn’t work for me – too much blah blah, the 3rd party Mizoguchi mis-attribution made the BZZZZZT – Wrong alarm go off and the conflation of Japanese dojinshi parody with western gay male camp is strained. The author would have gained more traction by using a compare and contrast parallel evolution approach. Finally the analysis ignores the centrality of the Haruhi character.)

What an interesting thing; even if it does go on, and on, and on…

The manga is clearly aimed at giving its (presumed) young female readership a lot of eye-candy and some rotten-girl-lite titillation, but it also solves the problem of the female gaze by inserting into the story an androgynous heroine who is unconcerned with her or anyone else’s outward gender presentation. As the series goes on, stereotypes of gender presentation and playful transgression are heaped willy-nilly one on top of another and all Haruhi can do is sigh with mild annoyance and occasionally puncture ego balloons with deadpan snark. And while the boys get weirder and weirder in search of the ultimate host club experience for their “typical” female clientage, they also begin to fixate on her – especially by trying to get her to act as a properly feminine girl during her off-hours.

Meanwhile she gets to (at first reluctantly) enjoy being part of an over-the-top band of guys – what academia charmingly refers to as a “homosocial”. The only whiff of nastiness comes during reoccurring episodes of class-war snobbery and when a central casting nasty lesbian separatist club (who watches over us again???) from a nearby girl’s school decides she could be a perfect Bifauxnen and tries to steal her away from her oddball social club. Tsk tsk! Thou shalt not use “lesbian” as a pejorative, to do so is insensitive and low-class! Sensible, polite and serious Haruhi gets 2 points on the set-up.

Not quite an obverse of Hato, but close enough for 3-chord rock and roll.

Except that even such a manga-verse comparison can be fraught with complications. The word-of-the-day is transmisogyny, and is best illustrated by the following exposition on Wandering Son: (note that pronoun usage follows presentation and Deemed X At Birth acronymage is used)

“In junior high school, Takatsuki and Nitori meet Sarashina Chizuru, a cis-identified girl who just enjoys wearing a boy’s uniform because she feels like it fits with her cool persona. She turns up to school a few times in it and also tends to wear non-regulation ties with her girls’ uniform. Sarashina’s blatant disregard for the rules gives Takatsuki courage to wear the boys’ uniform that was given to him by Yuki, a transwoman who acts as mentor and confidant to Takatsuki and Sarashina. (In the manga, the uniforms belonged to Takatsuki’s older brother and sister.)

When Takatsuki wears a boys’ uniform to school, everyone thinks that he is cool and edgy like Sarashina. Part of this fairly positive reaction stems from his peers are viewing Takatsuki as a tomboy engaging in temporary cross-dressing instead of a transgender boy trying to dress toward how he wants to be perceived. Although the administration is annoyed with Takatsuki for breaking the dress code, the other students’ misreading of Takatsuki’s actions as fun and temporary largely protect him from transphobic reactions, although their reaction causes a sense of discomfort for him, as it plays upon the disconnect between how one sees their own gender presentation and how others see them. This discomfort also occurs earlier in the manga when Takatsuki gets his first period and is teased by the other boys because it “proves” that he’s “really a girl.”

Like Takatsuki with his androgynous clothes and binder, Nitori also wears clothes that make her comfortable in her gender expression in her free time. Outside of school, she wears a long wig and skirts at home with friends in public in disguise, often with Takatsuki, and is delighted when she “passes” (more on this later). Her success in passing in public, her friends’ admiration of how good she looks in girls’ clothes, and Takatsuki’s wearing of a boy’s uniform at school leads Nitori to follow Takatsuki’s example and to come to school in her girl’s uniform. However, Nitori is immediately recognized by the teachers and then mocked mercilessly by her peers. She is sent to the school nurse and then sent home from school. In the anime version, the characters sometimes talk to the camera, and after this incident, they discuss how differently everyone reacted to Nitori’s and Takatsuki’s perceived cross-dressing, noting that girls’ fashion offers more options for gender expression in clothing, and that Takatsuki’s interest in androgynous and masculine clothes is treated as more normal than Nitori’s interest in feminine wear. Few anime are this deliberate about how the masculine is prioritized and deemed culturally cool but the feminine is reviled, and how DMAB people who embrace culturally feminine clothing and pursuits often face greater social consequences, from ridicule to violence.”
-http://odorunara.com/2014/06/19/revealing-and-concealing-identities-cross-dressing-in-anime-and-manga-part-5/

Back to why exactly is Keiko so pissed off at Hato? Are we back in the old days of a trans-gendered individual who seeks to realize their subjective gender racking up more authenticity points than a cross-dresser, who is a “mere tourist or hobbyist”?  Is it the old cant that passing imposes a certain burden upon forthright behaviour for individuals during transition (which is even more insulting than the “trap” acusation). Or is it a Japanese don’t rock the boat thing? Is Hato’s gender-switching suspect only because it disturbed the wa and breaches honne? Can a Westerner ever even begin to understand all of the baggage contained in her outburst?

To paraphrase Master Sorceror Sean O’Lochlainn
“Magic is a matter of symbolism and intent.”

We can only guess at either. Confused yet?

It’s complicated…

Or… I am just using this Genshiken mise-en-scene as an excuse for a quick n nasty survey of the common arguments surrounding the gender politics of trans* characters.  Pay no attention to the blogger behind the curtain.

Other stuff of note happened upon of late…

How the Philippines does rotten girl:

Appropriating Yaoi and Boys Love in the Philippines, Conflict, Resistance and Imaginations Through and Beyond Japan – Tricia Abigail Santos Fermin, Osaka University, Volume 13, Issue 3 (Article 13 in 2013). First published in ejcjs on 6 October 2013.  http://www.japanesestudies.org.uk/ejcjs/vol13/iss3/fermin.html

“My research largely confirms the point McLelland made in his comparison of Japanese and English-language yaoi and BL websites: we will witness many groups of women around the world sharing similar sexual fantasies, yet the rhetorical space they occupy in their transgressions could never be more different.”

Has a very big section on Genshiken, Ogiue and Hato and yup, I like the mirror conceit too:

The Great Mirror of Fandom: Reflections of (and on) Otaku and Fujoshi in Anime and Manga by Clarissa Graffeo, MA English Thesis, 2014
http://etd.fcla.edu/CF/CFE0005172/Graffeo_-_Thesis_-_Great_Mirror_of_Fandom.pdf

Incidentally a fine usage guide for tyro translators: 

Hey, you’re a girl?: Gendered expressions in the popular anime, Cowboy Bebop – Mie Hiramoto http://profile.nus.edu.sg/fass/ellmh/Hiramoto_2013_Hey%20youre%20a%20girl.pdf

The Genshiken girls (and Hato) are written as reading this stuff? Warning – NSFW images, purple prose and rape fiction apologia/ triggers:

https://www.academia.edu/3993649/Forbidden_Love_and_Forbidden_Desire_Themes_in_the_WWII_Yaoi_Manga_of_Fusanosuke_Inariya

Yaoi is destroying Japanese families. Warning – cum hoc ergo propter hoc  fallacies, errant bullshit and possible trolling:

https://www.academia.edu/2368322/Explanations_for_Japanese_Population_Decline

Get rich at Comiket?

http://fanhackers.transformativeworks.org/2012/06/how-much-money-do-doujinshi-creators-actually-make-some-statistics-from-comiket/

“”Lost 50000 yen or more (lost $638-more): male 14%, female 16%
Lost between 0 and 50000 yen (lost $0-$638): male 53%, female 50%
Earned between 0 and 50000 yen (earned $0-$638): male 15%, female 17%
Earned between 50000 and 200000 yen (earned $638-$2553): male 8%, female 10%
Earned more than 200000 yen (earned $2553-more): male 10%, female 6%

the circles who lose money are clearly in the majority, with 67% (male) and 66% (female) in the red. Earnings of less than 50000 yen are probably negligible in a lot of cases: this would barely cover transportation and hotel costs for a circle that has to come from outside of Tokyo.”

Stop writing to Margaret mangakas before release date, or send a pic of you holding the mag, bought in NY:

http://moromi.tumblr.com/post/87934810142/important-for-the-hnr-fandom-please-read

Heavy Fujoshi studies of the year bibliography:

Annual Bibliography of Anime and Manga Studies, 2013 Ed.

http://animemangastudies.wordpress.com/2014/03/25/342/#more-342

Another fan studies resource:

The Phoenix Papers, Vol. 1, No. 1
http://fansconf.a-kon.com/dRuZ33A/?p=269
and
The Phoenix Papers, Vol. 1, No. 2
http://fansconf.a-kon.com/dRuZ33A/?p=333

Good news on the guy front; The kids are all right. All that pre-judging is just us old baby boomers’ violent expectations.

http://freethoughtblogs.com/hetpat/2014/07/18/its-time-to-stop-defaming-our-boys/

And finally:

I was beginning to fear that the rather expensive Routledge anthology PERVERSION AND MODERN JAPAN addressed neither when at last I hit upon “Packaging desires: The unmentionables of Japanese film” by Jonathan Abel. Yup, it’s all about PANTSU in soft-core Japanese porno films, and its a rollicking great hoot of a theory-moe ride – which is to be expected of a paper that grew out of a joke presentation titled “Die Zizek, Die!

Sooner or later I must review the whole thing here. Abel is the translator of Azuma’s Database etc., while Nina Cornyetz and J. Keith Vincent (translator of Tamaki’s BFG) as editors are both very agreeable reads in their own rights. It is just that collection is a bit of a slog unless you are really, really into post-Lacanian detritus and its use in critical writings on Japanese cultural stuff.

…And you manage (as I do) to find some of it amusing.