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…

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“.

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

Gogatsu-byou

Well, this is annoying! I have had to trash three different posts because they all ended up boring fail. It must be the change of seasons, or the weather.

nothingreallymattress w600

Here instead is a quote I found on some forum. I think it might be by Slavoj Zizek, but then again, who cares…

“The real issue here is that chickens are obviously inferior to Formula 409 All-Purpose Cleaner, and yet certain critics on both the extreme right and left continue to insist that is not so – although these men and women are thankfully outside the academic mainstream, if not outright on the fringes of radical discourse and propaganda.

This is obviously a mistake. The sensual curves and strong edges of Formula 409’s world-famous spray bottle technology, together with its patented formula that Cuts Through Tough Grease And Grime, produce a powerful erotic sensation of the first painful and pleasurable sweet nothings of youthful sexual awakening. I first experienced this revelation when, one summer long ago in Tuscany, Julia Child rubbed butter all over my naked virgin body. It was then that she sprayed Formula 409’s patented bleach-free formula all over her powerful forearms, and performed a Scandinavian Corkscrew. In no time, all of my tough stains and chicken grease were gone, leaving me sweaty, panting, and totally spotless.”

PS: Hato X Hato or GFTO !!!

On heroes and hero worship

Wherein I try to balance speculation about character mechanics with a slightly self-indulgent fan-out, in order to make up for dropping cryptic comments into other blogs when suddenly struck by insight…

“…Within a somewhat socially repressive environment, in which citizens are expected to conform and contribute to the social good, anime is a temporary escape from reality and crossdressing serves as an outlet for personal expression. Dressing as a girl allows Japanese boys and men (such as Haruhi Fujioka’s crossdressing father in Ouran High School Host Club and the countless “okama” in One Piece) to not just express their softer, feminine side, but to temporarily drop their burden of male responsibility. Attraction to these characters may also be tied to a sense of ease. Male viewers that like josou shounen characters may feel more comfortable relating to a boy that looks like a girl than an actual girl because jousou shonen anime characters consistently seem more compassionate, receptive, and considerate than female anime characters that expect normal boys to act like boys. Josou shounen themselves don’t look or act like boys and don’t demand that other boys live up to the stereotypical male characteristics that girls expect.

So setting aside preoccupation with gender, josou shounen anime characters are typically even more feminine and approachable than actual girl characters are. The argument may be made, in this case, that cute is cute, regardless of gender. But if that’s the case, why would heterosexual otaku supplement or even supplant attraction to female characters with josou shounen characters? Some otaku may be partially shifting their interest in cute anime girls onto cute anime boys that look like girls because the later provide the same opportunity for moé obsession without the need to respect conventional masculine and feminine gender roles. [July 23rd, 2010.]“

-http://www.animenation.net/blog/2010/07/23/john-asks-why-is-josou-shounen-becoming-a-mainstream-trend/

The above quoted explanation for the boys-in-skirts genre has a superficial ring of truthiness about it; lets take it apart and see if there is anything that can be teased out of it to illuminate Mada’s Genshiken harem and Hato-chan’s dilemma.

The burden of responsibility for the male role: here we are already into slip. It is assumed in this explanation that the attractiveness of a crossdressing male character comes in part from the vicarious admiration of the freedom that the role affords. The passage reads almost as it was noting the attraction of 3D crossdressing as hobby rather than simply noting that certain characters are attractive. This is not only the freedom to hang out with girls and do girly stuff, but to avoid the unpleasant, difficult and perhaps bankrupt male role. Note that there is no mention of “born in the wrong body”, This is gender tourism. The models for this twinned explanation are newspaper reports of “herbivore males” and the rich kid from Princess Jellyfish. The catchphrase for the effect would be “It’s my hobby!

The next suggestion – that conventional female manga, game and anime characters mirror real life females who make too many demands upon the broken male; either to be a stoic, silent male hero or to be successful, forceful, romantic and so perfect that almost all suitors are doomed to failure from the start. This is an analogue of the “she won’t date anyone who makes under X per year” news items from the first few years of the millennium. While this explanation has some plausibility a similar attraction is part of what drives lolicon desire, the full implications of it are horrific. Does this mean that a certain subset of otaku cannot even handle spunky girl characters? Passive-aggressive cultural blowback!

More could have been offered as explanation. The power relations hinted at in more dramatic versions of the otokonoko genre play with an implicit bargain between the otokonoko character and the almost- smitten boy object of desire. The otokonoko character plays an exaggerated, supportive, understanding feminine role and the boy character agrees to take her presentation as suitably feminine and desirable. flattery is exchanged for flattery. This means that for the first time, the nerd boy can be the one who gets to play coy, and both can place themselves above vanilla relationships. Raiju winner-types of both sexes, long used to getting what they want would turn out to be too rigid, lazy or spoiled to give such a relationship a try, so the nerd and the crossdresser rise above them as harbingers of the cultural vanguard. This is the virtual Jack Kerouac Beat Generation redux effect.  Verily, there is nuthin new under the sun…

With the lights off, it’s less dangerous…

What kind of male main character is best to draw in male readership into a particular story? Is it an average guy, like Genshiken’s Sasahara? Does he have to worse than average; a clumsy horn dog or an ill-socialized nerd? Extremely shy around girls? Clueless? Perhaps the slightly melancholic normal guy with family troubles that leave him somewhat orphaned? Slightly unhinged? Bat-shit crazy?

One of the familiar tropes of high school romantic comedies and harem grinders gives us a somewhat shy, well-behaved guy with blond hair and/ or a “scary face” which means that everyone avoids him as a dangerous delinquent. Then the quirky girls flock around him. Then an otokonoko “page-boy”, a few lolis and at least one scheming over-sexed older woman.

If he is going to be socially awkward around girls, he can’t be too much of a freak; How is it that Madarame is on the outer edge of the limit while Kuchiki is beyond it? Is it that Kuchiki has too many weaknesses? Does Madarame only look acceptable because Kuchiki is worse? It looks like the limit is one interesting, forgivable life-effecting weakness per average young guy.

Perhaps we have a male analogue to one of the reasons why women populate BL tales with extreme male characters: to escape the power dynamics that are set in place before the story starts (power dynamics set up within the story are fair ball).

My limited exposure to North American female aspirational fiction- the kind where the bright young heroine comes to New York for her exciting new job, splurges on name brand crap and navigates the attention of the good guy and the dangerous guy, notes that the setting, the brand name props, the relentless consumption pattern name-dropping and the cookie cutter suitors all serve to create a theme park romance-ish experience to be binged upon by female readers who do not live in New York and cannot access bling or exciting suitors. It is almost allegorical, in the sense that the characters, setting and props have only to be named and remain barely described, fleshed out or given any “reality” within the story. Very lazy writing, but still popular. Sorry Azuma-san, your database looks like a 1950’s automat cafeteria.

I was really bored and stuck without any other reading material when I read that one centuries ago, so perhaps I over-generalize, but if this kind of thing is what women are supposed to be reading, then I can understand why some of them ruthlessly excise the annoying plucky heroine in favour of banging the guys together for some outre fun. The only alternative would be to peel the plastic wrap off the entire setting and expose what lies beneath as some murderous horror-show; which explains the appeal of the Buffy-verse. (both variants seem to posit the bad- boy- on- a- leash as an answer to the old Freudian question of female desire, which again makes the rotten girl response amusingly innovative.)

The relative newness of the otokonoko genre makes it easier to recycle all manner of hackneyed old romance chestnuts: Perfect girl falling for schlep buddy boy is too hard to believe, so Otoko! Otoko! Otoko! is just the newest way of giving the perfect girl character another hidden “flaw”/ back story to explain her odd tastes; ex-gang leader, alien, magic girl, time-traveller, angel, esper, reality shifter, teen prostitute, hidden royalty, riches, psychotic kitten-killer, etc., etc., After all, it’s all just grist for a galge and a few manga and anime spin-offs right?

Low res is best res

Behold Hato-chan V2. All the faults enumerated in the Rame is a loser session translate into some odd form of moe for Mada-and-only-Mada Hato. Moe enough to finally get Hato level up the femininity presentation and to use the cooking skills he practiced to return the meal that Mada made for him a half a year (almost five years real-time) ago. The “what the heck does she see in him?” effect works even if the perfect girl ain’t one.

Oh no I said a dirty word…

Of course since this is all part of a harem dating-sim game, it is natural and expected. Natural too is that Madarame can now interact with Hato-chan as feminine, but can feel a bit safer: Clumsy flirting with a genre situation Hato is less threatening than clumsy flirting with a raiju cis-female. If Mada screws up, Hato will forgive or at least understand where the stupid guy tricks are coming from. If he goes too far, Hato will judo-throw him. With ironic genre quoting any goofy gesture or statement can be made as long as it is put in harem +/or josou genre quotation marks.

The excerpt’s writer suggests that the josou genre is not just a flight from/ beyond traditional gender roles in contemporary Japan but the making of new diffuse ones. This one gets a bit strained; if only because the characteristics of the “ideal” accepting otokonoko are as traditional as they come. In the raiju world of fantasy cis-females they are represented by the geisha, the hostess and the floozie with a heart of gold who has retired from the trade and now runs a late-night izakaya. Strange how Keiko’s night job is to act something like her: it might be reading too much into her off-screen character to yell LAMPSHADE! yet.

Because they are presented in ironic quotes, they become trans(*)gressive. This is Judith Butler territory, but even she must be ready to refine her initial theories, as the nasty ole patriarchal society seems to have an almost infinite appetite for gobbling up the transgressive and excreting the co-opted useable. Chomp! Urrrrrp! Substitute you for my mum, At least I’ll get my washing done…

A far bigger question looms: why is Kio Shimoku is turning shy, crossdresses-to-be- a-fujoshi, imagines his BL male self to be a forceful seme Hato into a paragon of supportive accepting, inviting femininity and throwing her at Madarame?

To put it simply, because it won’t work!

It’s fun to lose and to pretend…

The problem is not simple gender/ sexuality prejudice. That would be low-class.

Hato-chan might be completely accepting of Madarame’s faults, and a future Madarame could be completely accepting of an intimate relationship with a trans girl-boy, but Hato’s current brand of feminine just doesn’t turn Mada’s crank. It does something else entirely.

It came to me in a flash while reading the detailed comments in a senior blogger’s notes on Chapter 98, when the reader discussion moved on to “What does Mada want?” The usual response is “he doesn’t know!”, but this is slightly disingenuous. We already know who he wanted, the question should be “when?” and “why“. To put it simply, Saki would never act like Hato is acting.

Madarame was fascinated by the raiju Saki who invaded the Genshiken in search of her boy-next-door. Soon enough he was doing his usual Madarame fugue state creepy geek-out that he always does to keep himself safe from social mistakes (by pre-emptive strike) and the heartbreak of a crush on someone who is miles out of his league (which is pretty well how Madarame views almost all females).

Later Saki was dragged into cosplaying as the chairman from “Unbalance“- That was cute, but it was fap fodder at best. Only when she busts the upskirt camera creep and publicly “becomes” the avatar of Ritsuko Kübel Kettenkrad, does she become irresistible. At that moment, a small fierce flame is lit in the heart of Harunobu Madarame and his comfortable self is forever shattered.

Falling for an avatar

You poor shmuck! You have conflated a real girl as the incarnation of your favourite moe-blob heroine! Bakka! Bakka! Bakka!

He will go on to take Saki’s advice on how to dress better, tone down the creepy avoidance behaviour, get a job, and try to hold down a graduated almost- raiju life, all in the forlorn hope…

What he thinks he wants is immaterial. We know what he will change his life for.

The boy only falls for girl heroes.

Best to frame “her” as a “heroic female”, or “the heroic feminine”. We are not talking Beautiful Fighting Girl here. Strong female lead or Heroine might be a bit too vague and/or shaded wrong. For all of my imprecision, she is a fairly conventional character in the many varieties of geek fiction. For geeky guy romantics the lure of the heroic female is almost irresistible; another face of the many ideas of the feminine constructed mostly, again by guys.

When she is created out of female desire, she looks a bit different, but similarities remain:

“Citing traditional European fairy tales such as Cinderella, Snow White,
and Briar Rose, Marilyn Farwell demonstrates the extent to which
Bildungsromane include “the same seemingly natural elements—problem, complication, resolution—that define all narratives and at the same time [trap] the female in a fatalistic apparatus.” Any adventure story dealing with the seemingly innocuous migration from girlhood to adulthood potentially “demands that woman be muted, silenced, and violated when she enters the time-line that forces her into the sexual story. By portraying the female’s adherence to traditional sexual and gendered conduct as proper and correct, such stories funnel women into one of two endings: heterosexual marriage, or death. Radical feminist Andrea Dworkin concludes that in western fairy tales, “There are two definitions of woman.
… The good woman must be possessed. The bad woman must be killed,
or punished. Both must be nullified.” Obedient women who succumb to
the “natural” progression from bashful virgin to sexual object to doting wife and selfless mother are rewarded, while those who disrupt the “order” of these events are met with contempt and disgust. (Women who resist 210 Catherine E. Bailey) dominant social scripts, being labelled sexual or gender “outlaws,” are thus often symbolically represented in adventure stories as monsters, vampires, and other threatening figures of the grotesque.

A more socially just narrative formula, then, would eliminate the conflict between a character’s status as a “nontraditional” woman and her status as a hero, which both Sailor Moon and Utena do.
[...]
From the very start, Utena is introduced as a character who
subverts commonly-held cultural assumptions about her sex. Utena
“should” jump at the chance of marrying the noble prince, yet instead of
falling in love with him, as we have been culturally conditioned to expect
her to do, she looks up to him as a role model. As a high school student,
she rebelliously wears a derivative of the male uniform and competes
alongside exclusively male peers in a variety of athletic activities.

She is generally regarded as a tomboy, and another character even affectionately refers to Utena as her “boyfriend.” Most importantly, in the spirit of becoming more “princely” and traditionally heroic, Utena prides herself on looking after the underdogs of the school and frequently intervening on their behalf. Yet it is important to clarify that Utena does not want to “become” a prince in the literal sense of the word. She does not want to relinquish her female body, she is not trying to “pass” as a man, and she resents it when people imply that she is somehow less of a woman simply because of her more performatively masculine behaviours. When she says she wants to become a prince, Utena is referring to her desire to exhibit the qualities her hero reflected: courage, compassion, strength. The “prince” becomes, then, a body of ideas, connoting a heroic agency that is unfixed from gender. Utena contrasts this to the idea of the “princess”—a  passive, helpless, and objectified entity.

Non-freudian approaches, Hero mythology, bildungsroman, and the problem of Euroethnic cultural traditions
http://artsonline.monash.edu.au/colloquy/download/colloquy_issue_twenty-four_/bailey.pdf

 

She’s overboard, she’s self-assured…

Whether pitched at males or females, she has something that both feel they need. The male-purposed heroic female character may look retrograde compared to Utena, but a few things are similar:

Consider the fantasy-world extreme version in the Maoyuu Maou Yuusha franchise: Hero might be the named hero, but he is at best a sidekick. All he does is cartoon fighting. The real hero is the voluptuous Demon Lord. Hero is doomed to fall for her, if not by her buxom charms, then by her fierce determination to bring peace to the world and if not by this project, then by blinding him with science, or 2 hour lectures on agriculture and economics. She will save the world for demons and humans, end famine, disease, serfdom and ignorance and she will get her guy, Dammit! I wonder if any of the Lord Kalvan series even made it over to Japan in translation? No matter, she is a better iteration of the character type than he could ever be. While she goes about sowing the seeds of an other-world renaissance, her Hero will knock heads as directed. He might even finally figure out that she was sweet on him. Whew! lotsa work being a heroic female.

The pont is that both Utena and the Demon Lord require and attract followers to their character and their project.

Mada could never see himself as the hero; but as a sidekick? Sure thing! He could imagine himself as able to do a slightly stumbling Rock Okajima if he could only find a Revy from Black Lagoon. Call him her “Knight” or some such other cheat, a hot girl hero needs a nebbish side-kick who can reload her spent clips while he grows a backbone.

In the end there is no such thing as leadership…

Heroes, especially the female kind attract allegiance, friendship and love: it doesn’t matter if it is unrequited. They burn so damn bright. It is pure charisma, the fires of which are usually stoked by the sheer desire to act with purposeful agency to create her reality. You see her pop up in plenty of shonen “girl with super powers/ alien powers” works, and from the start in yuri-ish works. Both shy boys and shy girls can crush on girl heroes. And even the boy hero is weak in the knees before a girl hero. She can even be a bit psychotic…

And now for my next trick..

A Genshiken girl-hero doesn’t have to be a super-powered action hero or keter-class reality shifter to be desirable, but she does need a few hero-like characteristics:

Her personality is shaped by her determination and agency in pursuit of a goal or project.

She has to suffer inner conflict about the price she has paid and remains willing to pay for pursuing it.

She displays an internal “moral” code.

Her past and present tribulations dispose her towards concern and empathy towards people, at least towards the members of her “band”.

Her flaws make her human, require struggle and personal growth to overcome and give the sidekick something to fuss over.

Ok, girl hero is heroic, so why pine for her?

When you become the secretly crushed-out sidekick to hero girl, you get motivated to become better, so as to support and be worthy of her. You become able to change yourself.

Don't worry dude, it'll work out..

So what if this sounds “beta as all fuck“; it is a primary and fundamentally social act in comparison to the solitary, sociopathic traits of the self-proclaimed objectivist alpha (one would think that if they are so alpha, they should just STFU and enjoy it). Often it provides the motivation for the sidekick to (re-) join a larger community. At the very least, heroes are interesting to hang out with.

Mada’s fantasy Saki is of course both more and less than the real Saki, but even the comfortably self-sufficient Kousaka would admit that “his” Saki compels him to be a better human being. Without Saki, Kousaka would be a mutant genius freak and would eventually fall prey to some manner of excess.

Mada wants!

Unfortunately, the current Genshiken is bereft of any spares. They seem to be all paired off already. Besides Saki, Ogiue can muster a good show of heroism, but she has made her choice. Ohno has her heroic moments, it takes single-minded courage to pursue her hobby -which when you get right down to it, is dressing up as girl heroes. I am sure that Tanaka-san considers her his hero.

I wonder how Hato looked at Kaminaga back in high school. Bad example. Hero fail. I have always suspected that more happened to Hato after he was outed than he has shared. I am sure that Shimoku sensei will provide us with a few more nasty flashbacks as needed, but Hato’s looking for a sempai habit must play no small part in his Mada fixation.

Why we have not been treated to a warming his hero’s sandals with his body gag yet is perplexing to me.

Between Keiko, Yajima, Rika, Risa and Sue we have very little hero material. Each could become “heroic”, but currently have no reason to try. They are all too busy just trying to figure their current lives and identities out . Hato, as kun or chan could become heroic: some would argue that his acceptance of the desires manifested by his Stands, and his crossdressing to become fujoshi are heroic enough, but so far he is his own greatest follower. It is getting a bit lonely now that the Stands are off on a bus tour.

His strong desire to “blend in”, to become-fujoshi (and in his mind fujoshi is an egalitarian community of exchange) keeps him from acting out and or acting out. Even his prodigious drawing abilities are hobbled by the need to fit in. The shock that Yajima feels when she hears that he must crossdress to draw properly is defused by his inability to control his talent. The steamy yaoi clench scenes that he can only produce are the perfect exchange gift to the rotten girl social, but his second biggest gift is needing their help to integrate these into a larger narrative structure. And Hato x Mada x Hato is supposed to be the third gift…

I’m worse at what I do best…

Hato has decided that along with being-fujoshi, what he-as-she wants is a steamy BL-ish otokonoko fusion cooking romance with Mada. To this end she becomes Nadeshiko no Genshiken. Mada when confronted by Hato’s hyper compliant femininity can bounce back and forth between obliviousness, creep fugue state and “ooops- I forgot you’re a guy”, and “I was only making a trope reference joke, but I’m still embarrassed”. “Noooooo… I’m more embarrassed…” replies Hato. Rinse and repeat.

Is this some new form of manzai?

Mada has already gone for a pantsu peek! It no longer matters that Hato is a crossdressing male, or whether or not Mada could accept him – Mada can upskirt, creep out, bring out the cat ears, drop harem lines ironically and live up to his part as an ill-socialised otaku over-responding to female-ish attention, but he won’t change his life for anyone less than a hero and neither Hato-chan or Hato-kun is one.

Hato is doing it wrong; pushing Mada to play “the prince” to Nadeshiko no Genshiken is too much, so the more perfectly hime s/he becomes, the more Mada will be overwhelmed by what he imagines should be the only response available to him. Mada will shy away and try to prove himself wrong for the part. No homophobia or transphobia need rear its ugly head.

And comedy of fail is maintained.

It is almost as if Genshiken is borrowing from the Yankee Girlfriend genre, at least for the parts when the atypical female tries to get feminine for her guy: even if she doesn’t screw up the hand-made valentines day chocolates, the boy is shocked at her out-of-character behaviour.

Can Hato drop the hime act become a fudanshi/fujoshi hero? How to do it? He or she needs to start doing something again, as in secondary production; drawing, creating again or he becomes a pitiable figure. If he is only defined by his sexuality/ gender performative-ness then he no more than a presenter of that sexuality/ gender. This is heroic enough during the consciousness-raising phase of the public politics of sexuality and gender, but is wearisome during subsequent phases which strive for recognition, rights, respect and equal treatment.

You have to be good at something else too otherwise you get to be a crossdressing trans* fudanshi neet. Then you hiki-out up in your dingy apartment day and night and wait until you get to star in a remake of Welcome to the NHK.

Of course this places an unfair burden on the individual member of a sexual minority group, but society is a work-in-progress, with the operative emphasis on work. The two gay guys and the one lesbian I knew back in my University days, who were drafted into “spokesperson” roles all had occasion to roll their eyes at the extra work they got stuck with, but they never gave up on their passions for their art, their journalism, their sports, their music, etc. They were fun, interesting people to work with. Perhaps I show my age here…

Best to make the best of all of your talents. Pity the Genshiken seems to require melodramatic foolhardiness and defenestrations before redemption:

Hato, standing in front of the Manken club window, exasperated and waving his wig at its members:

“You lazy cowards all of you.
You got the most in you, and you use the least.
You hear me, you?

Got a million in you and spend pennies.
Got a genius in you and think crazies.
Got a heart in you and feel empties.
All of you.
Every one of you…

Take a war to make you spend.
Take a jam to make you think.
Take a challenge to make you great.
Rest of the time you sit around lazy,
You. Pigs, You!

All right, God damn you! I challenge you,

Me!
Hato Kejiro!
Cross-dressing girly-boy fudanshi BL dojin artist!

Rot or live your dreams!
Come and find me and I make you dojinshi-creating heroes.
I make you great…

I give you a wall table at Comiket !!!

That would be overdoing it even for the Genshiken…

I feel stupid and contagious…

Perhaps if he joined Ogiue, in a public large-format drawing demonstration at the next cultural festival and drew something work-safe but rotten… That would be a start. Sue should join in too, I’m sure she can draw; she can do everything else.

Then he could stop acting like a doormat shojou character and start acting more like a self-possessed adult: male, female, or a personal best of both. A crush on Mada is an odd first step for him to get him out of his own head, but he needs to go a lot further. He should think long and hard about that perfect imaginary sempai he wanted (definitely not Kaminaga!) and try dressing as that. Something might rub off on him.

Would a heroic Hato-chan or kun be more appealing to Madarame? At least it would make both variants a better friend. The Nidaime anime did have Hato asking Madarame to contribute to Mebaetame. Something has got to draw Mada out of his slump. And Genshiken might be one of the few manga out there that could get away with a respected serious, hero-in-daily-life otokonoko hybrid character. Usually you wouldn’t expect the two genres to mix well. The minute the otokonoko stops being seductive, s/he is usually deployed for comic relief.

Oh Heck, I wanted to drop this in somewhere..

The other possibility is that Hato is planning a double campaign, and that after a round of harem trope fun he will drop in on Mada in guy-format and act slightly sheepish for overdoing the femme stuff. “Sorry I got carried away, I wanted to do something special to make up for all the trouble I caused you with Angela and the sou-uke thing and the broken wrist. I’m an idiot, whatever… sorry ‘Bro. Did I turn gay? I don’t really know? Guess I read too much BL, but it never made me do anything like this before. If you are uncomfortable with it, I’ll stop it…” Yadda yadda yadda…

That would be sneaky… And/ or a real ass-backwards way of learning how to navigate male friendship.

Meanwhile, I swear that Sue is looking like she is looking closer and closer at Hato. (Ok, I am hobby-horsing here…) Of note is that she does not appear to distinguish between kun and chan; she interacts with the entire Hato, to the extent that her trademark stare seems to tunnel into the core of his being. What is holding her back, besides fangirling over any potential Hato x Mada x Hato is a respect and a tender concern for his silly dreams and for both his and Mada’s fragile mental stability. Or perhaps she views the unfolding Hato pursuit of Madarame like a slow-motion train wreck. She may prod and poke at Hato for over-girly-girly-ing, but she really likes the soup! If she was competing against him for Mada’s attention she would be doing more. She might make a complete fool out of herself in the process, but the fact remains that she is hanging back, waiting to see what happens. Something is off with this harem.

Or something else is going on: With all the yuri teasing that Kio Shimoku has been dropping onto Sue, could she be watching, pining away as the girly-boy of her dreams dotes on an inappropriate guy? Heartbreaking! Nawwww… Sue too cool for that… But if she likes the soup, she should demand cooking lessons.

If circumstances force Sue into doing something heroic we are more likely to get one smitten Mada and a full circular triangle; field strength %98 and holding.. We need a crisis, something that threatens the entire Genshiken. Saki was able to “save” the Genshiken from the stuco last time, Could a V.2 Sue do the same?

Hero or not, Sue will not glomp onto Mada. Sue already has a more or less platonic hero fixation with Ogiue, and what Ogiue represents to her cannot be found (yet) in anyone else. Neither Mada or Hato can claim to have gone from shameful abject yaoi fiend to successful circle leader, dojin artist and semi-pro mangaka who won over the boy she once shipped, and who supports and protects her kouhais (- heh! Wait a second! Could Hato also be stuck in a loop of Ogiue worship ???) If Sue becomes heroic, she will do so in emulation of Ogiue and the needle of Hato’s heart will swing to her as to a lodestone. Madarame can’t do that. Then again if Hato becomes Ogiue-ish heroic, Sue would fixate on the new Hato. They would make one heck of a mutual admiration society.

We have too many Sancho Panzas! Someone has to be Quixote!

Once again the question arises: who and how is Sue shipping? Does she secretly draw? Is she writing fan-fiction, perhaps on english-language rotten-girl blog sites? What, beyond cosplay is her secondary fan production? If she is to emulate her hero, she must make something of her desires.

If Sue ascends to heroic mode then Kio Shimoku can bump Hato over from otokonoko to one of the more conventional variants of the crossdressing genre: desire to get close to the girl hero who is surrounded by an isolationist female social. That is going to take a bit of leveling-up as well

What of Keiko?

Keiko will never be the girl hero: within the strange fantasy-verse of the Genshiken dating sim, she is always going to be the temptress. She lives at the edges of the floating world, not the fan world. She would get Mada “dirty”, drain his funds, play with him and then slap him down. He might give it a try, but more likely he will avoid her like rat poison. He can talk to her, but only because he is in opponent mode. It all reminds me of polite Edwardian Anglican theology-talk that referred to Satan as The Adversary. Keiko would also turn up her nose at any real-life harem scene; she would get itchy after one minute of Hato’s dinner party at Mada’s apartment. She might play against the girls at the bath resort, but she won’t play harem with Madarame. She might be as raiju as Saki, but she lacks the spark that would make Madarame crush on her and she realizes it. For this reason alone, his stupid, doomed otaku romanticism annoys her to no end. In the mirror of his eyes, she would always be less than what he desired and that is unforgivable.

This is one of the small hidden tragedies of the Genshiken, because Keiko X Mada would probably straighten her out as she cleaned up Madarame. Unfortunately both would have to get real and the Genshiken is all about finding a way to avoid getting real, abandoning your dreams, desires and odd hobbies and graduating on to grey raiju drone-hood. Keiko represents the ultimate bad ending. Keiko x Mada would buy how-to-be-normal books and religiously follow them. Keiko x Mada would stop going to comiket.

What of the rest of the Genshiken girls?

Yajima has backbone, but needs another year before she would ever try something as dangerous as taking her own desires seriously,crushing seriously on Hato or assuming a leadership role. That Hato-kun can even draw a tiny spark from her is gift enough. With a bit of time however she will grow to be a formidable person. How long is Kio Shimoku planning to do the Genshiken?

Rika remains a cypher. She is more of a Peter Pan character than even Sue. Aside from her Reki-jo taste for historical BL fantasies and her thirst for booze she is as paper-thin as a shikigami, though her meddlesome antics mask this.

Angela could fit the heroic female role, but currently she is just a happy wandering Amazon. She is remarkably free of heroic angst. She doesn’t have any humanizing weaknesses. She is a tourist; Zeetha, the warrior princess, not Agatha Hetrodyne. Because she needs to display some weakness, her assumption that Sue is after Mada leads me to further discount Sue x Mada. After all, even Saki could flub an insight now and then. If she were ever to tone down the ZOMG and just communicate with Madarame she would own him in a day. Has Ohno not provided the fine details about Mada’s crush on Saki? Perhaps it is because she has never met Saki that she cannot figure Mada out. Cosplay a reluctantly sympathetic raiju woman up-with-putting to win an otaku boyfriend? No problem! Or does she have to unearth and do a quick study on Unbalance to become Chairman-ish?

Ritsuko Kübel Kettenkrad-sama watches over us

Ritsuko Kübel Kettenkrad-sama watches over us

The big question remains: how much Madarame does she desire? Mada is an old-fashioned boy, he needs to be courted, or at least given the illusion of doing some courting. He would need to fall in love. She would have to demonstrate that she was willing to take responsibility.

Language need not be an impediment forever. Someone give her Mada’s email address. Google translate romance! Now that Shimoku-sensei has slipped in smartphones there’s an app for that. Even before this, cell phones in Japan could access live translation services for moderate charges, she did not have to rely on Ohno. Crossing vast distances to pursue your dreams is inherently heroic too. Sue got better at Japanese, Angela can as well. Long distance romances can strain the heart, but they can be wonderful. [1]

My bets are Sue x Hato, with Hato the rising fudanshi BL dojin star protegé of Ogiue and the next Genshiken president; Angela x Mada in a long distance relationship with Yajima and Rika as amused chorus watching the fun.

And then we would have room for some new characters.

Now I will wait a few months for Kio Shimoku to up-end this.

 

[1] Works for me, Ditto on the other thing too. 

Everything that rises must converge

“most amps go up to ten. … These go to eleven. ” -Slavoj Zizek

Risa is due back to the hallowed halls of the Genshiken club room! Rejoice!

smut more recruits.web300Rika’s  shotacon younger sister will be popping back in to the Genshiken soon and that means the perv level of the Genshiken girls will kick up at least one notch. And not a second too soon! While Kio Shimoku has always treated the odd enthusiasms of the Genshiken members as Greek tragedies treated murder – much discussed, but carried out offstage, the mayhem remains integral to the story. The tradition of the Genshiken as a safe space for young people caught up in embarrassing fringe desires must be maintained. Time however has overtaken their kinks: the play of old-school otaku and vanilla grade fujoshi seems quaint: no longer abject but merely a commonplace hobby, like bird-watching.

Fortunately Shimoku-sensei stuffed a few cards up his sleeves.

Risa of course was one such ace, but the otokonoko genre references might turn out to be even more valuable.

Recall that in Genshiken time we are simultaneously in 2007 and 2014. In 2007, the “boys in skirts” genre was known, but was yet to become the next big thing in Japanese visual culture. In 2014 the bloom is already off the Bara.

Set the Way-back Sherman…

The first references to the otokonoko/ josou genre in the Genshiken show up when Kuchiki first encounters Hato-chan. Then they are followed by Kousaka’s josou game,  “I could take care of that for him”, and get full star treatment in the Nidaime anime. Three quarters of a year in Genshiken time and more than four years of “real time” have passed since Hato-chan walked into the club-room. The buildup towards the full use of otokonoko/ josou tropes has been slow, with the fujoshi fun and the stands making enough of a racket to make full deployment of “so embarrassed I’m crossdressing”, “forced to crossdress by girls/ scary older women”, “beginning to enjoy the attention” and so on, unnecessary, His crossdressing is discovered almost immediately by the girls, and any discrete skirt flipping/ bulge ogling takes place while he is asleep. The shower scene doesn’t count as part of the genre. Almost all of the cross-drama has taken place as inner dialogues over the odd arrangement that allows him to fan over BL stuff without feeling that his “real” self is threatened.

Voiced instances of the genre tropes carried an ironic, or at least referential tone and are linked to the tastes of the male characters. (Any interest from Ohno can be put down to the cosplay effect)  As in the real-life josou games and narratives previously noted, the genre at first glance appeared to be posited as a counter trend to the stagnating field of loli moe blobs. Perhaps heat-death was setting in; there are only so many ways to sexualized under-age 2D females: once incest, yuri-cest and twin-cest were all thoroughly overdone the thrill is diminished. “My younger sister can’t be so boring“. Time to move on to the younger brother who likes to/ has been wheedled into dressing up like a girl.

There was a point to my previous sloppy post, beyond the low comedy of 4chan trap crossdressing threads: diaspora fans (I am trying to find a different word than “western”, bear with it, please) were all pretty well following Kuchiki, Madarame or Kousaka variant scripts: “That’s gay dude!“, “couldn’t be that cute”, “doesn’t really matter”,  “If it has a skirt, it’s a [2d] girl [eroge chara]” and “OMG I’m beginning to …”

otokonoko argument on 4chn web600

The genre incorporates all these reactions within its narratives as well- hence the added enjoyment of restating them in rude vernacular on an anonymous image board.

>Traps=/y/
>Traps have never been /y/, and /a/ has been gay for traps since before it was /a/.

or per TV tropes:

“Otokonoko features both girl-on-crossdresser and guy-on-crossdresser stories (it’s one of the few places where you will find m/f stories and m/m stories side-by-side in the same magazine). The target audience is men who crossdress (or are interested), and men who have a fetish for crossdressers, and the art styles and tropes are typically those of male-oriented romance / ecchi / hentai material. There is also a significant Periphery Demographic of female readers. (Although guy-on-guy otokonoko is often mistaken for Boys Love Genre, anything targeted to women is not otokonoko.)”

You sure ’bout that?

The crossdress comedy genre indeed seems to be the property of second-tier shonen/ seinen magazines:

No Bra ran for 5 volumes from 2002 in Gekkan Shounen Champion, Brocken Blood has 9 volumes from 2003 on in Shonen Gahosha/ Young King.

Depsair  broken scanlate fail c8p13 web600

Tripeace 2008-2013 ran in Square Enix’s Shounen Gangan, who also gave us Fudanshism- Fudanshi Shugi (2008 – 2013, 7 volumes)  Prunus Girl (2009-) and Josei Danshi (2012 on). As a video game company that spins off properties into manga and anime they appear to really like the genre’s potential.

Softbank mobile’s Flex Comix Next carries Suemitsu Dicca’s Oto x Maho since 2008 and most of the other titles it publishes are seinen (remember her(?) name  – we will return to her works in a bit.). Comic Rex runs Himegoto (2013) and 2 spin-offs that have been re-merged into the main story.

There are tons more – I just pulled a sampling from the TV tropes Otokonoko page and aggregator searches as examples.

“Melodramatic” treatments of a crossdressing character, such as  Himegoto – Juukyuusai no Seifuku (2010, Moba Man – Shogakukan) and Bokura no Hentai (2012, Comic Ryu -Tokuma Shoten – seinen) seem to be pitched as more pervy knock-offs of Takako Shimura’s  gentle and bittersweet  Hourou Musuko/ Wandering Son. (2002-2013 Comic Beam – Seinen). They are more than they first appear to be.

Don’t call me daughter…

So far, so seinen. It can be assumed of course that the fujoshi brigades were busy trolling these offerings for fun stuff to ship from the start, as the “as long as she/he is cute” seems a fine way to lead two males into some steamy seme x uke action. But the genre is still supposed to be aimed at curious guys (and I am willing to bet, far more popular in “the west” than in Japan). Things get a bit fuzzy when one starts wondering about where all these odd tales first popped up.

Job confronts_fudanshismch2.11 web600

In 2010, Comic Rex spun off its josou titles into a full-blown otokonoko magazine “Waai – boys in skirts“. Inside the pages were odd bits of crossdressing advice, tons of make-up ads and among other series, Suemitsu Dicca’s Reversible! Other magazines popping up to cash in on the craze included Million Publishing’s Oto Nyan,/ Oto Nyan Omega (2010-2012). All could be considered to be following on the heels of the 2010 Wagahai wa “Otokonoko” dearu! (I am an Otokonoko!): a manga/ book how-to guide for 3D otokonoko enthusiasts written by Nanami Igarashi.

Manga critic and historian Jonathan Clements wrote this about the genre in 2012 (Big block-quote warning!):

” I’m sure you’ll agree, this is something of a subgenre of a subgenre. But ever since spinning off from the boys’ magazine Comic REX in April 2010, WAai has still had enough faith in the size of its readership to punt out 270 pages of  glossy, high-quality printing four times a year – that’s once per season, in order to ensure varying uses of colours and imagery. The cover to this issue by Akira Kasakabe has two attractive ladies in a state of summery deshabillé, sorting out their lippy and watching the midsummer fireworks. Oh, except they are not ladies. They are both blokes, it says here.

If at first you can’t believe your eyes, the strapline at the top makes it as
clear as possible: “Inside this publication are cute kids, but they are not
girls. This is a new magazine for otoko no ko of the new generation.” The
Japanese otoko no ko literally means Man-Girl or Mannish Girl, but is it
intended here to mean “ladyboy”? We are back in the fascinating world of the implied reader – is this a magazine for boys who like dressing up as girls, or is it a magazine for girls who like to look at boys dressed up as girls?

WAai’s niche is still small – it is half the size and double the price of
mainstream magazines, and is not included in the online sales figures of the Japanese Magazine Publishers Association. But this is how all new niches start; the publisher Ichijinsha would be mad to print a million copies and hope that the readership to match it magically arrived out of nowhere.

The Japanese mainstream has treated the otoko no ko “phenomenon” with a degree of suspicion – perhaps wisely, considering the penchant of the media for making up new fads on the spot and hoping the herd will follow. In 2010, the Engan bus company offered spoof free tickets to transvestites as an April Fool’s joke. Later in the year, the same company offered a free ticket promotion for real, but only to female passengers who would dress up as sexy “moe” girls. The transvestites should sue!

The use of the term otoko no ko has been gaining ground in Japanese for the last ten years. But it’s only in the last two years that it has suddenly blossomed into a definable subculture, with its own publications, slang, traditions and inevitable media attention. WAai isn’t even the only magazine for otoko no ko. Already in the last year, the Japanese market has seen the arrival of Change H, Oto(star)ko and Otoko no Ko Club magazines. Meanwhile, Enterbrain has test-marketed the manga anthology Super Otoko no Ko Time, and Square Enix has tried Joso Shonen Anthology (Boys in Girls’ Clothing). Newtype, the trend-setting anime magazine, has already tested an experimental title for the otoko no ko market, with the release in August 2011 of a live- action photography special featuring boys dressed as girls. It sold out on the day of release – but was that a sign of an untapped market, or simply of deliberate under-printing to manufacture headlines?

Its aficionados are keen to point out that these characters are not transsexuals – they are transvestites, dolled up in women’s clothes as an
attempt to show a sensitive side. They are, we are assured, boys who like the idea of softness and silkiness, experiments with lipstick and girlish pursuits – an assertion which places them firmly on a timeline that reaches back for several generations, to the manga revolutions of the 1960s that valorised flower-sniffing sensitive types in reaction to the ludicrously macho heroes of the day. Japanese Wikipedia even has its own page on the phenomenon, which goes to great pains to point out that otoko no ko have absolutely nothing to do with sexuality. Just because a boy wears women’s clothes, he is not homosexual, nor does he “want” to be a woman. The artwork in WAai makes that abundantly clear, with images of characters in bikinis and lingerie, pouting for the camera but displaying telltale flat chests and posing pouches that leave nothing to the imagination.

However, there is a flipside. Is this really a magazine for transvestites? The editorial content delivers one message, but the advertising tells a different story. If we want to be cynical for a moment, let’s not immediately assume that otoko no ko materials reflect a grass-roots demand that Japanese conglomerates are sweetly serving. Let’s instead assume that a bunch of large cosmetics companies have realised that heterosexual men represent a bogglingly large untapped market for sales of make-up. Has some bright spark at Shiseido or Nivea suggested that the marketing team take a step beyond “metrosexual” and try to flog lip-gloss and crimpers directly to absolutely everybody?

WAai’s concept of femininity does appear oddly and over-enthusiastically
consumerist. In other words, its attitude is that women are “made” by buying stuff. Shopping maketh the woman, in WAai’s eyes – it’s a beautician’s idea of beauty, and seems largely materialist and product-orientated.

This is a no-win situation for critics. If we question the motives of the
publishers, we are attacking transvestites’ right to be different. But if we
report on a “phenomenon” that isn’t really a phenomenon at all, but a cynical appropriation of a subculture as an excuse to bootstrap a new fashion fad, then we are mere stooges of the marketing machine. Meanwhile, it is arguably the height of cynicism to latch onto someone’s heartfelt beliefs and lifestyle, merely because you want to shift a job-lot of depilatory cream. If it’s “in” to be a transvestite this season, that’s all very well, but that’s like saying its fashionable to be Asian, or short-sighted, or tall. What happens next year?
[....]
Meanwhile, there is a heavy and frankly boyish concentration on new anime series, with larger-than-normal features dedicated to modern serials such as Astarotte and Baka & Test: Summon the Beasts. Games reviews also take up a substantial proportion of the front matter, including self-explanatory titles such as The Boy Loves Dressing Up as a Maid and Bokukano: Ladyboy Sex Chat.

Regular readers of this magazine may have noted on several occasions that the Japanese comics market is embroiled in a massive argument about the depiction of minors. Its most recent incarnation was in September 2011, when two members of the Japanese parliament presented a petition calling for anime, manga and games to adhere to the same sort of censorship rules as other publications. In other words, there is still a massive fight about the depiction of little girls in print, and it is your correspondent’s suspicion that a large part, if not all of the otoko no ko phenomenon is not about reader demand at all, but merely a new way of circumventing the censor. Just as white panties and blank crotches, tentacles and robots formed new and odd tropes in anime and manga, could it be that bluntly stating that these “girls” are really boys is a sneaky way for certain publishers to hang onto images of flat-chested dollymops, without incurring the wrath of future censors? If so, it’s a very sneaky trick, but let’s not assume it’s a sign of sea-change in attitudes
towards cross-dressing… Unless it is.

Jonathan Clements is the author of Schoolgirl Milky Crisis: Adventures in the Anime and Manga Trade and Anime: A History. This article first appeared in NEO 92, 2012.”
— from http://schoolgirlmilkycrisis.com/2014/02/25/waai-boys-in-skirts/

 A job-lot of lip gloss ain’t the only thing being peddled though. I am going to risk over-emphasizing Suemitsu Dicca’s Reversible! not only because it does what it does in such an odd way, but also because of her other works.

The premise is odd: Misbehaving rich kid males and a few trannish poor guys get packed off to an all male boarding school way up in the mountains where the school rules state that they must cross-dress on alternating weeks. Seems like LeGuin’s Left Hand of Darkness caused more damage to Japanese culture than previously assumed. This will get them to stop acting like jerks towards women, give them a chance to learn / learn of “feminine-ish” wiles and incidentally practice the responsibilities of their respective social classes while testing the strengths and weaknesses of male friendship.

A Confederacy of Dunces…

Aside from gratuitous cross-dressing tips (I bet a cookie these were lifted from Igarashi-chan’s book) there is a whole lot of way too insightful dialogue on the dangers of seeking approval, much ado about superficial X authentic attraction and plenty of the use of the abstracted feminine as other to construct male subjectivity. The story quickly lurches towards the quasi-shojou realms of a chaste shonen-ai tale, with occasional panchu shots. Suemitsu Dicca is a big fan of the inviting abstracted “feminine”, otherwise know in fujoshi circles as the inviting/ trickster uke. Noted too is the play of social classes in the story; another big fave of BL tales.

Those wishing to see what else Suemitsu-sensei has written better be ready for hard-core yaoi dojins.  The mangaka is fully rotten. Yikes! Otokonoko tries to seduce newly met male friend, male friend is already quite gay and thinks he is seducing innocent, confused cross dressing youth. Human orifices can’t do that ensues. Note to mangaka: no glove, no love! Being a smut purveyor entails certain responsibilities in this age (what has this blog done to me? A year ago I would have freaked at seeing something like that. now all I can say is yup, looks textbook rotten…).

“Officials have already met with leaders of Japan’s $5.5 billion adult
entertainment industry in an attempt to develop regulations that conform to some small standard of basic human decency. Attending the talks were the heads of several major studios, including WoundSexerCo, Maid Molest Universal, Innocent Schoolgirl Despoil Youngest Daughter Lips Plunder Incest Distribution, and Sunrise-Rape-Rape-Nihon.
In what may signal a chastening within the industry, leading film producer
Golden Dawn Global issued a press release this week voicing its “humility and bewilderment” and offering to cease international distribution of its blockbuster series Pregnant Ladyboy Sodomized Facedown In The Rice Bowl, a 23 -part epic that has reportedly left thousands of viewers feeling repulsed, defiled, and forever doubtful about the inherent goodness of mankind.”
http://www.theonion.com/articles/japan-pledges-to-halt-production-of-weirdo-porn-th,2657/

Earlier efforts at the “do I care if it is a girl?” genre are better at getting the characterization down to believable limits. Any reader may be reasonably forgiven for wanting to wring the neck of the lad in No Bra, because he is such a pathetic horny wimp. Even when he somehow gets enough resolve to track down his barely remembered childhood friend’s true circumstances, it will take a major meltdown for him to man up and tell the truth. Like Mada, it is not a case of ‘can’t process” but that processing has stopped at Good to be King.  Oh well; magic dick syndrome is a classic young guy fail. At least his internal dialogue is far more guy-like. The annoyance develops only as a side effect of us buying the premise!

Full blown rotten narratives have a bad habit of transplanting an articulated emotional complexity onto male characters that would be out-of-place, even in female characters. Hyper-Shojo-ism!

I await a dojin-ish series where the main characters just appear to sit staring at each other while they process ever more elaborate internal monologues about trying to guess their own position and second-guess the other’s. Every 4 pages the characters are allowed to voice a few non-committal words to keep the game going. The same panel art repeats endlessly.

While the ZOMG panchu- with- bulge LoL! versions of the genre are simply loli retreads, the more complex versions can be reasonably classed as attempts to take classic BL/yaoi dojin tricks and turn them into a viable niche market product that can be pushed on X-curious otakus while delighting the hearts of the fujoshi tribes. Add to this that a subgrouping of fujoshis were always too interested in too-young protagonists, and that the flat-chested hairless otokonoko is a way to “18+” their nasty shota tastes with plenty of chances for otokonoko x otokonoko and/ or otokonoko x manly bishie pairings. Very convenient, in fact too convenient…

Houston we have double box-office!

Unfortunately for Japan’s publishing community it looks like the execution of this nefarious marketing scheme (Mwahhh-hahhh!) still needs work. As of 2014 all of the otokonoko magazines have folded. A few collections and tankubons will bring in some cash, but the genre is clearly not yet ready for prime time. (Curses, foiled…) This despite the impression that the boy-in-skirts trick was the new MSG of manga and anime; just sprinkle on any old hackneyed series and it was suddenly all edgy and fresh again. Still a niche of a niche, or of several niches…

Which in an odd way makes it perfect for the Genshiken.

Both the boys and the girls in the club-room can think of the otokonoko genre as their own private Idaho, or indulge themselves in the illusion that the other side has been suckered into thinking it was made for them, when really… All while accommodating/ displacing real-life concerns about legislation, western suspicions and “a certain bear

Welcome to the desert of the real

In the Genshiken, raiju heterosexual desire is so fraught with danger that allegories taken from extreme narratives of human-ish pairing are the only way to approach it. or:
raiju heterosexual desire is so boring and unattractive that it must be “charged” /”cathected” with tales of improbable longings in order to make it navigable and worth the effort.

Sin+Copyright fujoshi_rumi c47p66 web600

Or both.
And of course there will be consequences…

 

 

Genshiken ch 95-97 … as a symptom of man

Or rather she exists, but as a “symptom of man” created for his ontological consistency” – Slavoj Žižek (1)

Drag 'em to the transporter, Spock!

Drag ‘em to the transporter, Spock!

 

Hooray! Chapters 95 through 97 are finally available to us illiterate leeches and the wait was well worth it. Running various other efforts through Google xlate left giant holes in the story line, and posted synopses omitted the fine details – I assume out of a wish not to spoil our eventual enjoyment of the full version. Such a feast of goings on! Where to start?

— Warning! many theory-ish digressions and block-quotes ahead!
Proceed at your own risk! (oh, and I will run out of extra sources to add as links sooner or later, but in the meantime, hit refresh if you’ve visited previously and want moar light reading…) Continue reading

A secret history of the 21st century

“Expel the foreign devils!” – Slavoj Žižek

I've seen your face before my friend. But I don't know if you know who I am.

“I’ve seen your face before my friend. But I don’t know if you know who I am.” – Slavoj Žižek

A funny thing happened back in January in the world of Japanese TV commercials (CMs/ Commercial Messages). All Nippon Airways tried a bit of subtle po-mo humour and a few noses bent themselves out of joint. Much ado was made about it, especially in certain regions of the blogosphere and then the ad was pulled. But no one chased the trope reference completely to its burrow.

Allow me to venture a small suggestion:

otaku-no-musume-san Nicchi

Some folks would argue that the orphan “Hafu” lolicon pervert Nicchi, of “The Otaku’s Daughter” (Otaku no Musume-san) is a generic gaijin clown character in any case, but then one must recall his odd back story (again full of quasi-xenophobic tropes, taken to ludicrous extremes – the ninja xtian cult, the sugar fix to calm him down, the fact that “the mother” originally lusted for him, rather than Kouta, etc, etc., ) Within the confines of the narrative, even Nicchi gets calmed down, humanized and finally assimilated.

Oh Heck! Lets screen that CM:

or

.

A sampling of the coverage:

http://www.japantimes.co.jp/news/2014/01/20/national/ana-to-modify-
commercial-after-accusations-of-racial-stereotyping/

http://www.telegraph.co.uk/travel/destinations/asia/japan/10583569/Japane
se-airline-sorry-over-racist-commercial.html

http://www.telegraph.co.uk/news/worldnews/asia/japan/10586177/Japanese-airline-continue-to-air-racist-advert-despite-apology.html

http://www.news.com.au/travel/travel-updates/all-nippon-airways-apologises-for-tv-ad-which-is-accused-of-racially-stereotyping-westerners/story-e6frfq80-1226806324074

http://www.japantimes.co.jp/community/2014/01/24/issues/dont-let-ana-off-the-hook-for-that-offensive-ad/

http://www.debito.org/?p=12077

No sense of humor at all… jeesh! Then again if it had got out that ANA’s ad agency was suggesting that all Caucasian furreigners are fashioned from the mold of a ninja cult-christian pedophile it might have made the controversy even worse.

We would never do something that silly…

Would we?

pearl diver yup

Not very convincing, Mr Bond!

Whoooops!

lorre-peter-mysterious-mr-moto

I am thinking about it.. fast, even

Nawww…

too embarrassing

Just plain fail-trolling, desu…

Ok; that last one really doesn’t count…

While off in Japan, I had a few moments to sit around in front of my laptop and enjoy some extremely fast internet, wiggle around certain aggregator sites’ lame attempts to make it appear that they take down scanlated manga when it is licensed (naww, they just block Jp IP’s with a “sorry it be licensed notice – use a proxy, like the one built into Torch ) and generally try to deepen my distorted understanding of current Japanese society. I didn’t indulge in too much of this kind of nonsense because she- who- up-with-me- puts  would remind me that I better not have traveled half way around the world to hiki out in her apartment( I got to see an honest to goodnees full Noh play! wow!).

Nevertheless, and while I claim no particular brilliant insights, a theme or two began to sneak up on me:

The Otaku’s burden:

What with all the Abe-administration X China X South Korea fuss, and the off-noted political rightward drift in Japan, (and the right-wing echo chambers on some 2-chan boards) could manga like Gate – Jietai Kare no Chi nite, Kaku Tatakeri have a bit more zeitgeist stuck onto them than previously thought?

There are other manga efforts that play the neo-colonialism card in a similar, but less aggressive way, such as Outbreak Company: Moeru Shinryakusha

In the past when Japanese manga readers wanted a rip-roaring shoot-em-up fest, the tendency was to displace it to lawless exotic locales (Black Lagoon / ブラック・ラグーン), use exotic international characters and locales (Jormungand ヨルムンガンド) alternate time-lines (Full Metal Panic! フルメタル·パニック!) and the like.

The only time the JSDF seemed to make an appearance was in its alternate secret incarnation as the JAGDF . Looks like the times call for a bit more overt jingoism:

Fuck the prime directive!

GACPSv2 n0 p16web
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While them evil, slaving, raping, Machiavellian fantasy empire aristocrats are supposed to evoke imperial Rome, a la “I Claudius“, don’t they look a tad “Republican” as in WASP?

power derives from...

power derives from…

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GACPSv2 n2 p19web

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GACPSv2 n3 p21web

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Ok, one really shouldn’t read too much into a simple adventure fantasy manga. Its yankee grandpa, Stargate SG-1 is pure US military propaganda too – there is something seductively cathartic about mowing down G’aould and Wraith baddies with heavy ordnance – and there is no reason why the Japanese reader shouldn’t get to enjoy the fun. I admit it; I have atavistic urges in my tastes for recreational reading, and judging from some of the marginalia by the various scangroups who are translating Gate, the urge to gleeful, obnoxious excess can be hard to contain. ( I assume they be trolling, patrolling… they couldn’t possibly…)

But when you start reading some of the reporting on the drift right-ward in Japanese politics – beyond shrine visits and “slight revisions” to article 9 of the constitution, things get a bit alarming. Looks like the neighbourhood has become a bit more dangerous of late and folks is getting antsy…

Then again, some online journals do run to the left of the political spectrum:

It Would Make No Sense for Article 9 to Mean What it Says, Therefore It Doesn’t: The Transformation of Japan’s Constitution (http://www.japanfocus.org/-C__Douglas-Lummis/4001)

Back to the Future: Shinto, Ise and Japan’s New Moral Education (http://www.japanfocus.org/-David-McNeill/4047)

Perhaps they need to clamp down on the rumour of a “Gate”

Japan’s 2013 State Secrecy Act — The Abe Administration’s Threat to News Reporting 
(http://www.japanfocus.org/-Lawrence-Repeta/4086)

Or perhaps manga was always an arena for this kind of debate (wonder if the /AK crew will grab one of these too?):

Revisioning a Japanese Spiritual Recovery through Manga: Yasukuni and the Aesthetics and Ideology of Kobayashi Yoshinori’s “Gomanism” (http://www.japanfocus.org/-James-Shields/4031)

It would be easier if somebody hadn’t snuck the ashes of those 14 into the shrine:

Enshrinement Politics: War Dead and War Criminals at Yasukuni Shrine (http://www.japanfocus.org/-Akiko-TAKENAKA/2443)

Yasukuni Shrine at the Heart of Japan’s National Debate:
History, Memory, Denial (http://www.japanfocus.org/-Takahashi-Tetsuya/2401)

… It’s complicated… 

One also gets the feeling that some of the voices on the left should tone it down a bit too, lest they get a bit too apologetic towards Chinese and South Korean right-wing trolls. Chomsky.. Gehhhhh!

UPDATE: See http://www.economist.com/news/asia/21606338-no-more-guilt-tripping-say-young-bilious for a whiff of Japanese skinheads and ultra rightist manga. Aside from one loud right-wing band, the manga mentioned seem to be from one or two controversial dudes. TDR has  an xlated script for one. There are also translated excerpt kicking around if you look hard enough. Of note though is that the controversies mentioned are old hat in Japan, dating from around 2001 and 2005, though the Economist article recycles them as breaking news.. A roundup of sorts can be found here

 

Feedeth not…

Nowhere in Japan did I run into any foaming-at-the-mouth right wingers this time around. The only sound trucks I heard were trolling for old appliances and scrap metal. It was 5 years ago that I ran into the nationalist megaphone brigade, one Sunday afternoon in Tokyo’s Jimbochu district (Hi! I am illiterate, and everything is closed but pr0n video shops). Perhaps the presence of one uniformed police officer kept them from growling in my direction, or perhaps I was not on their furreigner-de-jour menu. Whatever; I have never really felt threatened in Japan. No right-wing beat cop has ever bothered me for my passport or implied that my used granny bike was bought off the back of a truck. Folks even sit next to me on crowded trains – especially if I am half asleep. (these three tropes seem to be the fave complaints of irked expat English teachers in the blogosphere). Most folks are more worried about getting on with their lives, the impending sales tax rise, the ossification of the political system and the graying of the population. It would be sad if the nationalistic loony fringe in Japan, China and S. Korea escalated the feedback chorus to the point where things got ugly on the ground, but I don’t think the majority of the Japanese public is anywhere near convinced.

That ANA commercial was probably trying to be all post-modernist self-mocking about it all. Perhaps they anticipated the whole kerfuffle as an “as- long-as-you- spell- my- name- right” gambit.

Inscrutable…

What would mass culture be without a bit o’ trolling?

Trolling is nothing more or less than an abbreviated urge towards fan-fiction.

Addendum:

“The facile trick of mis-attributing spurious quotes to one historical figure or another, such as “Oscar Wilde” betrays a deeper melancholy within the displaced desires that manifest through our disconnected virtual discourse. [...] Virtual reality simply generalizes this procedure of offering a product deprived of its substance: it provides reality itself deprived of its substance, of the resisting hard kernel of the “Real” – in the same way decaffeinated coffee smells and tastes like the real coffee without being the real one, Virtual Reality is experienced as reality without being one… [..] What this means is that the discourse of the Web is thoroughly mystifying, concealing its true foundation, obfuscating the un-freedom on which it relies. In such, and as antidote to this “gravitational pull”, I propose that all such mis-attributed quotes must henceforth be attributed to me or Jacques Lacan…”
On the melancholy of making up Oscar Wilde quotes – Slavoj Žižek

For those who would yet sing

Wherein I engage in another long digressive trip down memory lane while attempting to answer a question.

“In every age, God sends a millennial angel to deliver his message to mankind. But the space between heaven and earth is a terrible void; in passing through it the angel is buffeted about by such forces that it loses its message, its memory, its purpose and finally its shape until it is vomited forth across the night sky without form or substance, knowing only a terrible hunger.” – Oscar Wilde

Forget Baudrillard

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WARNING! Incredibly meandering mess continues beyond the cutline!

You have been warned! Personal digressions, hobby horses and too many vocaloid videos ensue!. Hic sunt dracones!
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