The way she acts and the color of her hair

“It works even if you don’t believe in it” –Niels Bohr

Wherein I get a bit wordy as I try to string along a whole bunch of disparate ideas and factoids towards a coherent and easy to understand appreciation of the problemmatics of the yuri genre as opposed to the BL genre within the Genshiken ‘verse.

—warning: Edits in progress, WP spell-check down, hit refresh if you are revisiting —

While we wait for the fan translation of Genshiken’s chapter 116, with its yuri teasing scenes, take a few moments to consider also the earlier Genshiken Nidiame anime extra #4, which laid the groundwork for a bump-up in the level of yuri teasing in the Genshiken. Sure there had been previous bits in the Genshiken, stray comments by Ohno and volume extra pages which poked fun at Sue’s hero worship of Ogiue, all while making sly shoutouts to Zetsubo Sensei’s Koji Kumeta – a friend of Kio Shimoku. (go to the wiki entry and wonder about the name of Kumeta’s IRL ex-assistant) The short Nidiame anime extra went a little further and at first seems somehow “off”; something whomped up by the animation studio as service, something that stretches the canon too far.


One does not expect a group of fujoshi to suddenly start doing yuri self-shipping.

Chapter 116 of the genshiken supposedly has the yuri teasing harnessed to the goal of giving Kuchiki some fan-service so he doesn’t get all sulky about all the Mada harem goings-on. but there are no (presenting) males in the OVA Extra’s clubroom but some of us viewers. Why the improbable yuri?

After all, one of the usual conditions of BL narratives is the erasure of female characters; they either must be fujoshi cheerleaders or die-in-a-ditch evil women who will try to impede the inevitable m:m pairing. Massive amounts of theory and pop commentary on the genre offers the consensus that the women authors and readers do not want or need female presences within their fantasy spaces. Female characters would break the spell and ground to earth the electric charge of the male marionettes who are being danced towards their inevitable happy (and possibly sexed-up) ending. This rule is almost as powerful as the “its not as fun if they are real gay guys because real gay guys do that kind of stuff anyway” effect that produces the infamous “I‘m not gay, its only him” line that so infuriated (and still infuriates, though there are signs that the issue is sliding towards shoulder shrug territory) activists from the Japanese gay community. Then there are those fun self-deconstructing instances of violent non-consensual sexual assault that the sock puppets occasionally do to each other, but heh, they aren’t real and that’s the way guys act if they go haywire anyway. (1)

Still, a few questions are begged by these rare occurrences and by the glaring absence of lesbian/female same-sex desire anywhere within the Genshiken verse.

Or perhaps not so glaring. Normal Japanese fujoshi are supposed to be overwhelmingly straight women who enjoy BL tales of male:male intimacy as a “break” from reality, as a “healing” space, rather that a fantasy world to escape and stay in (as neckbearded basement dwelling NEET male otakus are supposedly wont to do with their loli materials). (2)

Contrary to early dismissive characterizations, Japanese fujoshi are not a bunch of asocial male otaku analogues (a la Kuragehime; they are normal, above average achieving, well-socialised modern Japanese women who work, date guys, get married and buy consumer goods (including fan stuff – Japan respects purchasing power) and generally live productive normal lives. They just have this one little hobby that they don’t talk about too much, at least to outsiders. (3)

My ridiculous reason for thinking the absence important is the indisputable fact that a significant number of Japanese women who happen to like other women (and may or may not self-identify as ‘bians) also enjoy BL. Enough western female slash fen are gay and/or queer; some of the most articulate defenders of the genre have made no bones about this (see this blog’s bibliography section and past posts). I have reason to believe that while there was little pop culture discussion about fudanshi/ guys interested in BL in Japan in 2006-2008 when Kio Shimoku re-started the fearsome engines of the Genshiken, there was plenty of discussion about the fact that some Japanese could-be-‘bians had taken to BL because 1) extant yuri was either in short supply and/or vile male-gaze pr0n and 2) they appreciated the female exclusivist social that produced and consumed BL.

Hato should have been a young celibate ‘bian woman. That’s my theory and I’m sticking to it. Grrrrrrrr! And that’s just sticking to BL. Yuri is a form of libidinized CJVC. Why does loli and otokonoko and BL rate a space in the Genshiken, but yuri does not? What poisoned yuri?

Meanwhile back to Hato, rather than Shinobu.


Of course it had to be Hato. The minute Shinobou would walk through the door and casually let slip her identity, the entire Genshiken would fall into a gravity well of pr0nish hawt rezbian loser fan boy-isms. (there even is a vile hentai manga that has an all-female manga club that does nothing but sex each other down as nastily as possible: good hunting if you are so inclined – no I will not!) Fortunately, the crossdressing young guy trope was also making a bit of a breakout too. Voila: Hato.

This also adds a further structural reason for the absence of any ‘bians or even yuri in the fujoshi Genshiken: Kio Shimoku had enough on his plate trying to slip his weird creation into a female homosocial without having to juggle one more damn plotting concern. He needed something to disrupt it, but not too much. Too many balls in the air. Yet her absence remains glaring. Where is the yuri champion? She has to a be a “she”. It can’t be a Yuri Danshi. Kuchiki can’t handle it because he will destroy anything he touches. Even a male Bodhisattva would destroy any yuri he touched. It has to be Shinobu;

Please don’t bother tryin’ to find her She’s not there…
-Slavoj Zizek

The Nidiame extra #4 anime considered: (spoilers ensue)

In the clubroom, Rika Yoshitake complains that the current membership has shipped Madarame and all the other available males and that she is bored. Out of the blue, she proposes yuri pairings.snapshot20150930232932

Ogiue shoots down the first few that include her and Sue, her and Ohno and Ohno and Saki.

She used the SZS "I am in Despair" line

She used the SZS “I am in Despair” line

Just as you think that Ogiue is against any yuri in principle, she suggests Yajima and Yoshitake. Then Yajima and her highschool friend, than finally Yajima and Hato-chan. Yajima’s complaint is that in each case she is assigned a quasi-male role to the pairing.


The group then seems to give up on yuri and switches back to the stuco boys, however one of the stuco boys has an ever-present girlfriend. Ogiue admits that she never noticed the girlfriend, she was edited out by “the goggles”


Discussion then moves towards Hato-kun’s wrestling experience in high school and finally the Hatoxbrother pairing that had been first mentioned by Kaminaga back at the school festival. There is some reluctance to take this further because Hato is present, but Hato-chan OKs it, even encourages it. They consider a historical story along the two brother theme for Mebeatame, with Ogiue worrying that 18+ content might bring down the wrath of the stuco on the club. Sue ventures that it won’t be an issue if they don’t get caught.


Discussion then shifts to Ohno’s and unexpectedly Rika’s tastes for oyagi shipping and to some odd pairings of western politicians (4)


With the club members in a shipping frenzy, Yajima declares that she cannot keep up with the “deviancy”

The episode ends.

I would pay arterial blood for a Shirobako season 3 about animating the Genshiken. Time and space would distort somewhere around episode 9.

Of course, years later in a parallel Shimoku-sensei universe, someone who looks like an older Hato who had a “boob job” is happily making dojins with someone who looks a bit like and older Merei Yajima and lo and behold, they aren’t just mangaka and assistant but lovers. So he was a virtual lesbian all this time, neh? Or is he just a pervy dude with a boob job? The OVA#4 was a setup. Duh! Duh? Some of the fandom are going to be unconvinced. No HatoMadaHato, no love.

SF 16p5 done in 5 minutes web600

The most obvious excuse for the lack of a ‘bian fujoshi in the Genshiken, within-story is that otherwise heteronormative fujoshi females would feel as uncomfortable about female same-sex intimacy, as stick-in-the-mud old straight guys feel about male same-sex intimacy. “Hey, I don’t swing that way, sorry it makes me a bit uncomfortable, it’s just me”, “No Homo“, to use the ugly, insulting vernacular disclaimer. It ain’t polite, it is a relic of far nastier times, I need to get over it, I’m working on it dammit, etc., but the effect is real, understandable and cannot be waived away with a smug denunciation. And it works on straight girls too; I would even argue that the flip-side might be more powerful in many cases. One could even extrapolate from the OVA that a group of women sitting around discussing fictional yuri pairings might feel a bit less comfortable given the chance that at any moment the conversation could slide over to them hurling ship at each other. Restricting the pairing to fantasy males establishes a social ceasefire as well as other forms of safety within the space.

Yet this discounts the historical fact that one of the major roots for the yuri genre, the 1920’s class-S female isolationist tales of spiritual female:female friendship (and perhaps more somewhere in the purple prose?) were extremely popular women’s literature throughout the 20th century in Japan. Japanese feminist speculative fiction, sociological sci-fi also had plenty of female isolationist/ female homosocial settings, usually whomped up to go at some aspect of structural sexism in Japanese society with hammer, tongs and ray guns.

Then genderfluid Shoujo tales and Bishonen tales came along, which morphed into more explicit BL stories and the Japanese female readership moved over en masse to shipping imaginary guys by around the year 2000. Anything that looked like female same-sex intimacy was left for loser fan boys who wanted hawt lesbo pr0n. The coincidence that the Adult Movie then Video industry also took off around this time and filled their B and C grade flicks with “lesbian” “schoolgirls” probably had some effect as well, (and a further effect will be addressed below) but the combination was enough that female interest in anything that looked like the old class-S stories evaporated. Even today, the yuri genre cannot pay the printing bills in Japan without the male readership, though there are indications that some straight women are reading the stuff again.

If we diaspora fans lived in Japan and could read and speak Japanese, the reasons for this would be glaringly obvious. But most of us don’t. And there has been a lack of deep English language research and historical material on the yuri genre in Japan. This is changing:

Beautiful and Innocent Female Same-Sex Intimacy in the Japanese Yuri Genre by Verena Maser . 27.9.2013 Universität Trier

All I can say is that if this gets posted on a major yuri scanlation group’s discussion board as well as on Erica-sensei’s Okazu blog theory section essay section (let’s just say that in terms of western yuri enthusiasts, the two camps don’t exactly see eye to eye) then it is worth a look.

Because it is a PhD thesis, and because such are usually made freely available to the public and not paywalled and because it it well researched and very readable, it may well become the go-to, on the web source for English language fans who need to know a bit more than what you can get at the wikipedia page for yuri.

I should be more emphatic:
I highly recommend that you download and read the work.
That link again:

You no interested in Yuri, only interested in BL Slash? You still read it. Skim the history bits, go to the editor interviews and fan survey sections. Much learning to happen. Nuff Said.

There are other short primers on yuri out there, but these lack a few things.

Original sin:

Any casual western fan who has been curious about yuri has probably heard of those 1920’s class-S stories of heartfelt female intimacy and friendship (no sex). You might have even heard of one of the more famous series; Hana Monogatari/ Flower Tales. Of course we didn’t read them. Here’s the executive summary that all the other academic-ish works neglected to emphasise; No Happy Endings. Ever! Complete and utter bummer, followed by complete and utter bummer, followed by another complete and utter bummer. One of the women/girls always moves away, gets married, dies, evaporates, loses touch, runs off and or does all or most of the preceding. Unless they both jump off a bridge. Enjoy your soulful school-girl friendships, they will be ruthlessly crushed beneath the boots of cold hard reality and the expections of good Japanese female behavior. Oh, and you can’t ever visit your school chums, ever. No keeping in touch. All love must, like the flowers the tales are named for wither and fall. And then be ground into the mud…

The color of the sulla flower…


from the wiki

“One of her early works, Hana monogatari ( 花物語 “Flower Tales”, 1916–1924), a series of fifty-two tales of romantic friendships, became popular among female students. Most of the relationships presented in Flower Tales are those of longing from afar, unrequited love, or an unhappy ending. It depicts female-female desire in an almost narcissistic way by employing a dreamy writing style.[9][10]

Yaneura no nishojo ( 屋根裏の二處女 “Two Virgins in the Attic”, 1919) is semi-autobiographical, and describes a female-female love experience with her dormmate. In the last scene, the two girls decide to live together as a couple.[11] This work, in attacking male-oriented society, and showing two women as a couple after they have finished secondary education presents a strong feminist attitude, and also reveals Yoshiya’s own lesbian sexual orientation.

Her Chi no hate made (“To the Ends of the Earth”, 1920), won a literary prize by the Osaka Asahi Shimbun, and reflects some Christian influence.

In 1925, Yoshiya began her own magazine, Kuroshoubi (Black Rose), which she discontinued after eight months.[9] After Black Rose, Yoshiya began presenting adult same-sex love as being akin to ‘sisterhood’ and complementary to heterosexuality, becoming more mainstream in her works.[12]”

Well at least in one story you get a woman-couple that is not destroyed by the mills of the gawdz. Whew! (5)

Apparently this effect is well known to western women who happen to like other women and who have bothered to hunt down what older members of their sisterhood had to put up with back in barbaric times. Non-traditional life choices didn’t get a lot of happy endings in popular narratives and long escape the grubby hands of the censors. (This is perhaps less well known to the hordes of LFB’s who have become yuri fans.) You needed that nice little “comic code” etc., crime & deviancy meet a bad end slipcover to be able to hang onto the furniture. As well, the effect seems especially pronounced in Japan, where tragic endings are traditionally equated with more serious and more emotionally poingnant narratives. Mono no aware

As a friend once caustically remarked: “A perfect Japanese movie happy ending: everyone dies.

Crap! Even the nice indeterminate couple in Sailor Moon die, heroically. I heard they get resurrected/ reincarnated somehow but one should be able to do better 70 years after Flower Tales. But noooo… It always the girl couple dying, one reaching for the other’s hand as they expire. The girls get Pr0ned then fridged.

Add a famous 1930’s scandal of a lovers suicide between an ex-Taka “butch” woman and her “neko” paramour and the stage is set for a pathologization in Japanese popular culture narratives of female same-sex intimacy. Soulful class-S results in heartbreak, but is tolerable because it keeps the girlies out of the pool halls. Gender norm violating butch/femme behaviour is criminal and sick and will be hunted down and ruthlessly suppressed. (6)

It takes a bit of time before the genre can shake this off.

For me, only three questions arise out from the historical survey offered by the Maser work: the absence of a mention of the testimony of Dr. A. Mizoguchi (who nominally was writing about her experiences as a Japanese lesbian using early Bishonen/ proto-BL narratives as support and inspiration for her own awakening identity, but also included a chapter on her “state of the yuri” some 10-20 years earlier in her 2008 PhD thesis) and of a related allusion by Mizoguchi to an informal or otherwise suppression of lesbian narratives by Japanese publishers in the late 1970’s through the 1980’s. This one is a willothewisp, perhaps I got it wrong. (The third involves giant robots and will be dealt with later.)

The Maser work also has fascinating interviews with editors of magazines that handled yuri stories. These are remarkable in that most of the editors don’t seem to acknowledge any particular interest in the yuri genre. Genre is what the mangaka is interested in this week, editors just carry the bags and stoke the star-making machinery behind the popular stories. Content? Whatever, not my job. I find this hard to believe, but the methodology sure reads as sound.

Also of note is her research on the print runs, readership and economics of publishing yuri circa 2005-2012. This research also goes far in explaining one particularly obnoxious (It’s just me, your mileage may vary) manga, “Yuri Danshi” (whose genesis she spends some time on) and offers some insights into the effects that a largely heteronormative (but less so that originally imagined) readership that keeps the few yuri publications (that offer a bit more than raw “hawt rezbian pr0n”) in the black, has upon the genre.

To put it crudely; there aren’t enough lesbians in Japan (or women interested in female same-sex intimacy and desire who will buy the usual yuri fare) to support regular publication of anthology magazines that feature lesbian-ish stories.

Also of note is the highlighting of one particular manga series on the fandom and the genre; to bring it up in a scholarly work takes some degree of courage. Apparently the genre defying, extremely problematically pornographic signature work by Kurogane Ken, Shoujo Sect figures prominently in fan responses – even in some female fan responses. This of course warmed my abject LFB heart, because the dammed thing caused a minor Saito Tamaki style post-Lacanian “trauma” in me when I first stumbled upon it. I am as easily enticed by the promise of a bit of exploitative girl/girl fluff as the next guy, so I was unprepared for the level of single minded commitment to kicking a tired cliche up a few notches that Sect takes on. You have been warned. Just yuri smut, don’t read too deeply. Maybe it’s just me? The extant scanlations lose a bit of the obsessive background details that were present in the original (Anon/SS?) scanlation efforts (via 4chan’s /a and /u board participants) Maser notes that even fans who normally eschew pornographic yuri variants were and continue to be seduced by the artwork and the high melodramatic romanticism of the work. Oh, and it is pure raw lolicon yuri smut. It may well be criminally actionable in some jurisdictions. The anime adaptation is sewage and best avoided.(7)

Here’s one other kicker that the Maser and most other researchers have failed to note: While it appears on the surface to be merely an upgrading of a usual “hawt lesbian schoolgirl secks” story, its plotting, pacing, character development and story arc are unmistakeably something else. They appear to be lifted wholesale from the tropes and conventions of BL tales. Shojou Sect is BL with girl bodies. Nice trick Kurogane-sensei. Also of note is that for the most part, extremely libidinous happy endings ensue for almost everyone; unless your lover was a supernatural entity or you are a jealous, manipulative rapist sempai. (8)

Its the same story the crow told me, it the only one he knows

Contrast to 40 Years of the Same Damn Story, Pt.1 by Erica Friedman.

In a short essay, Erica friedman runs through the signature yuri works in the canon, with an emphasis on the infamous Story A (girl confesses to girl, happy ever after). Erica-sensei’s rundown of the top 40 includes a story that I found missing from the Maser list, which is understandable as it is totally ridiculous:

“In the mid-2000s, Kannazuki no Miko created a whole new wave of Yuri fans, with an action riff on the couple from Shiroi Heya no Futari. Instead of 70s melodrama and partying, we were given giant robots and apocalyptic prophecies.”

Well, that one remains freaking weird but some of the artwork from it would become a classic yuri “signature” visual trope.


Want more? click-eeee!


One must also mention that the couple in Miko end up fighting each other to the death on the moon, or something, it is unclear. They get to be reincarnated together though, so they can be together in the next life: Blergh! Fridged again!

Friedman also expands on a feature mentioned by Maser, the faux-seraglio effect that the marketing department dreamed up to lure in more LFB’s

“At the same time Kannazuki was recreating “Story A,” another series that was playing with the same key elements fooled a whole generation into thinking it was telling an original story, by stealing from *every* Yuri story that had gone before it. Strawberry Panic! added a new twist to “Story A,” – a pretend glimpse past the gauze boudoir curtains of an all-girls, no-guys-allowed world. This concept quickly became a typical feature of Yuri “Story A”s aimed at men. (Presumably to heighten the sensation of forbidden love they enjoyed in Yuri.) This added thrill has retroactively invaded popular girl’s series, such as Maria-sama ga Miteru. The radio and live shows – the audience of which are mostly men – now begin with a warning that boys are not allowed. And many Yuri anthologies that target a male audience provide that same warning on the cover, just so the audience knows it’s getting a glimpse of some forbidden women’s mystery.

Where Strawberry Panic! really excelled was as an homage to “Story A” through the ages.

The manga riffed on series like Card Captor Sakura, Himitsu no Kaidan and Maria-sama ga Miteru, while the anime stole openly from Kannazuki no Miko, the above series and even Western stories such as The Graduate and Wuthering Heights. (Amusingly, it wasn’t even the first Yuri anime to borrow from Wuthering Heights. That honor would probably have to go to Cream Lemon: Escalation.)””

It should be noted that Maser follows on the research and analysis that Erica Friedman has long made available to Western yuri enthusiasts, even highlighting most of the iconic works within this earlier short essay.

However, being a rather dense LFB (reformed MK II variant, most of the time…) it is one thing to read

“Most of the relationships presented in Flower Tales are those of longing from afar, unrequited love, or an unhappy ending.” (


“In the beginning, “Story A” rarely had a happy ending. This is not because of the same-sex love, very few romance manga in the 70’s had happy endings. The typical couple were doomed to never be together for one reason or another. In the case of “Yuri” couples, the options were mostly one partner died or left to get married”. (Ibid Friedman)

…and another to read Maser’s synopsis of 8 or 10 of the Flower Tales. The old boot in the face over and over and over again efect really gets the point across. There were how many of these colossal downers? 52 of em? Gehhhh!

Female same-sex intimacy aversion therapy. 

Given the sad history above, one would think that girl meets girl and they walk off into the sunset is an improvement. Well, they could do better:

“To simplify everything for the purposes of conversation here – I prefer to read stories about women in love with women. No first-crushes, no girls in school, actual women who are a priori interested in women. I’m long past coming out and I like my characters to be, too. This does exist, it’s just rarer than “Story A,” because, as I pointed out “Story A” doesn’t make any awkward political or social statements.”” ibid Friedman comments section.

I suspect Erica-sensei did not need Maser’s research to elaborate the details of why Story A with its schoolgirls finding the hints of the beginnings of happiness are a plague on the land. Friedman knows yuri. Yuri has been a life-work for Erica Friedman. Erica Friedman deserves a civil commendation from the Japanese Emperor for promoting Japanese cultural products. A smart University would give Erica Friedman an honorary doctorate. A classy and smart university would take her blog site as original scholarship, convene 3 greybeards, email her two questions as a thesis defence and award her a full doctorate. It would be worth more to them than to her.

Still, for the slower among us, and that means me, seeing Maser’s research answers a few questions and begs a few more. It might be time for me to spend a week designing a survey page, linking it up on survey monkey and making this blog do some honest work.

Following on the section about editors, the survey chapter leaves me convinced that the Japanese male yuri fandom are either the stupidest creatures in the world or masters of deception. I suspect the latter. Yeah, I’m sure there is a creep factor in these and some want innocent loli bait (untouched by male defilement, yet sexualized) but I am also convinced that the success of Aio Hanna, Sasameki Koto , and now the overt lesbian subjectivity of Takemiya Jin et al. means that what some of the fandom is craving is more authenticity, a real view of a different, more mature romantic desire that can be understood, enjoyed and perhaps adapted to their (our) own desires and dreams. (9)

First Maser defines her fandom:

“When I speak of “fans,” I rely on the following definition: fans are “persons who for longer periods have a passionate relationship with an … external, public, either personal, collective, objective or abstract fan object and who invest time and/or money into the emotional relationship to this object.” (Roose, Schäfer, and Schmidt-Lux 2010, 12) To this we can add that “fandom is characterized by two main activities: discrimination and productivity” (Fiske 1990, 147) as well as the observation that fans form a complex and multifaceted community (Jenkins 1992b, 277).
Investment, discrimination, productivity and community are not four discrete characteristics. “

Then where she found them:

“Japan’s largest online message board 2channeru has a specialized board for discussing the yuri genre called “Rezu/yuri moe ita,” described as being for men and women who want to discuss rezu and yuri (although the exact difference between these two terms remains unclear), but cautioning: “While we do not actually exclude lesbians [bian na kata], this is also not a board aimed at lesbians [rezubian].” Since the board belongs to an external 2channeru subsection for erotic/pornographic content, both rezu and yuri are here connected to pornography.”

“”Mixi is only in Japanese and remains tightly locked: those who do not have an account cannot access any of its content (not even by searching on Google). In order to sign up, potential users need a Japanese contract mobile phone to receive an authentication email. This essentially excludes Japanese without a contract mobile phone and foreigners. Therefore (and due to language barriers), Mixi has almost no foreign users. Nevertheless, most users do not sign up under their real name. At least officially, usage of the “Rezu/yuri moe ita” is thus forbidden for users under the age of

The lack of emphasis on the Tamaki post-Lacanian view of fandom is interesting, but the more inclusive, more diffuse definition above serves well enough. I’m just fixated on Tamaki’s thing, with his heavy emphasis on libidinized interest, faults and all.

To the survey:

Valid responses 1353 out of 2848 (47.5%) most of the rest ditched as incomplete, some other small disqualifications (d=25)

“females accounted for 52.4% of the respondents, while males accounted for 46.1% :
“non-heterosexual” females accounted for 30.0% of respondents,
“heterosexual” females for 15.2%,
“non-heterosexual” males for 4.7%, “heterosexual” males
for 39.5%, and “other” for 1.2% (don’t know: 8.1%; n/a: 1.3%).
I deliberately put all labels for “sexual identities” in quotation marks since they do not necessarily reflect the “sexual identity” of any of my participants. It could very well be the case that yuri content is enjoyed by females who are less interested in the political aspects of their “sexual identity” (namely the LGBT movement) and see sexual activities as something they do (or could do), but which do not define them. As Welker (2010b) notes, what connects “lesbian” Japanese women is their deviation from social expectations rather than a shared identity. Furthermore, as discussed, I find supposedly fixed categories such as “homosexuality” highly problematic. My usage here is a matter of convenience as it permits me to analyze my data in a meaningful way. The blanket term “non-heterosexual” is intended as a neutral way of describing all kinds of (fluid) “sexual identities.” I agree that it is not a perfect choice (Weeks, Heaphy and Donovan 2001, vii), but it seems like the English language is still short of a better alternative.
Yet enjoying what others did and doing it yourself are two different things, as the results for the question about fan work production show:
13.9% of respondents had produced both parodies and originals, 16.9% only parodies, 8.5% only originals, and 60.7% had produced no fan works at all.
Here we see that the fans of the yuri genre exhibit various ways of engaging with their favorite text(s): far more respondents consumed fan works (81.2%) than produced them (39.3%). Only 17.2% of all respondents neither consumed nor produced yuri fan works, a result that attests to the importance of this aspect of fandom. Further analysis shows that while 49.3% of female respondents answered that they had produced some kind of yuri fan work, only 27% of male respondents said this (***p<.001), a finding consistent with prior research on Japanese fan works (e.g. Orbaugh 2010, 177)”

Asked about the need for explicit depictions of f:f sex in the works, a great many of the respondents professed to be either not that interested or even against the raunch.

Maser also asked about crossover interests between BL and Yuri:

“My survey covered this topic by asking participants whether they were interested in the boys’ love genre: 55.8% of respondents said they were interested, 34.2% said they were not, and 10.0% were not sure. This result supports the idea that the fandoms overlap. A further breakdown by “sexual identity” shows that it was mostly female and (to a lesser degree) “non-heterosexual” male respondents who liked both yuri and boys’ love: 75.3% of “non-heterosexual” females and 83.0% of “heterosexual” females, as well as 57.8% of “non-heterosexual” males answered this question with “Yes”—but only 27.2% of heterosexual” males did (***p<.001). This is probably not surprising given that the majority of boys’ love fans are female.”

Then there was related finding, one that is very, very Japanese:

“A further analysis of the responses to my survey indicates that iyashi was especially important for fans of specific texts. For example, 79.5% of those who gave the pornographic text Shōjo Sekuto as one of their favorite titles also gave iyashi as one of their reasons for 150 liking yuri manga (***p<.001, n = 132). In the case of those who preferred yuri anime, iyashi was especially important for the fans of the series Yuru yuri. 81.4% of those who gave Yuru yuri as one of their favorite yuri titles also gave iyashi as one of their reasons for liking yuri anime (***p<.001, n = 113)”

Iyashi you say?

Iyashi is a catch all Japanese term for healing/ comforting/ soothing. The respondents would have us believe that a fine schoolgirl Story A (with or without a bit of skin) is at least as good as a visit to a cat cafe and a cup of chamomile tea while a mogy sits on your lap and purrs (liking cats stipulated). As I mentioned, yuri like Shoujou Sect is highly eroticised fiction. Perhaps finding characters with sexual agency who know what they like and find others to share the fun, without doing a two-year silent pining away while getting up the courage to mumble a confession and then run away blushing routine can be considered soothing. Likewise, the love conquers all-ness of the newer variants of the yuri genre is a great tonic for a battered soul. A final idea about soothing: Same ‘ole same ‘ole is in itself soothing. A well done rehash on a familiar theme is soothing. Even if “you cannot move forward”.
Moving forward is overrated.

Future surveys could include a)Novelty b)Ally of Justice c)Happy Endings d)Hope for a better world e)Tourism f)Comfortably familiar g)Masturbation aid h)Sex manual and perhaps a few others. Multiple choices allowed.

Some of the questionnaire comments were heartfelt:

“I think that in Japan, many yuri [texts] are about tragic love. Furthermore, there are also those created by males fantasizing about yuri. I always think that I would like to read yuri created by LGBT women [tōjisha16 josei].

In society, many negative things are murmured about homosexuality, for example “They can’t be saved,” “They can’t have children” or “Two females can’t live together.” Or the negation is said out loud. If that’s true, then I don’t understand why such works are valued”.[16 josei].”

Tōjisha, if we remember from a previous essay post is a favourite term in the political debates over gay rights in Japan. It means witness, someone with skin in the game, testimony from one involved.


“Someone who deviates from society is made into ‘a thing that can be enjoyed as fantasy.’ “


“”Extremely often Japan’s sexual minorities are consumed as “entertainment” in this way.
… There are only a few people I can trust. The reason is that I don’t want to be made into “entertainment.” I’m always wishing for a few very sincere and positive works about homosexuality. I’m constantly thinking that it would be good if the sentiment of homosexuality (not “lesbian” [rezu] as used in the world of porn) soaked into general [texts]. I cannot understand people who say “It’s a good work” about tragic stories. … Same-sex love is “love” [ren’ai] just like heterosexual love. … I wish that there were happy and sad stories in yuri just the way they exist about normal love. Homosexuality is absolutely not special. I want it to be much more equal, that we don’t color a completely normal thing to show that it’s “not normal.”

More goodies in the original, I could stretch this post out to the moon if I kept quoting the pithy stuff.

Back to the Genshiken clubroom. The rotten girls, plus Hato-as-chan are used to the idea of steering their male sock-puppets though steamy romance tales with plenty of hawt guy-on-guy action. Now even all us squeamish cis-male pale-skinned privileged old guys who grew up in barbaric times and as a result are a bit loathe to read a whole pile of raw steamy yaoi can understand the usual aspects of their genre. Just think Shoujou Sect with guys instead of girls and lots of lotion. That’s what the girls plus Hato read and aspire to draw. Sometimes they throttle back the overt naughty bits and situate the bonking off-stage or off-page. But yup, That’s pretty well it.

Given the freedom, safety and power this exercise affords, and given that their straight-girl hearts are easily as squeamish about looking at nekkid girls doing the nasty as I am about looking at nekkid guys etc., it is easy to understand the absence of yuri as a genre that is seriously considered within the Genshiken.

Except for those who have been tainted by furreign thinking.

Note that Ohno and to a lesser degree Sue are not particularly annoyed by bringing up the subject. Ohno has spent time in the States and as a cosplay master, she is used to the idea of identity fluidity.(10)

Heroes fuck the way they want, the important thing is that they are heroes. Kanako Ohno’s hobby is becoming heroes. Sue is fully furreign and therefore inscrutable. Angela, when she appears is worse and carnivorous. Ogiue as a pro mangaka can stretch her mind and perhaps consider a fictional Yajimacci as male-ish enough to start the ball rolling, but Merei immediately becomes slash-kami MJ Johnson’s “Helmut” and declares that this is just normal female friendship.


And of course, on a meta level, the yuri teasing is just fodder for LFB’s. A bit of yuri frisson makes the dread machinations of the rotten girls a bit less scary to us guy readers. Once we are mollified, lo and behold, the club abandons the yuri goggles and goes back to shipping guys.

Expect nothing much more from the Genshiken in terms of yuri than occasional teasing, thrown as a sop to uncomfortable male readers when the BL goggles effect gets too strong.


Let’s detour to the previously mentioned Sasemeke Koto/ Whispered Words. This one went on for a while during the 2005-2011 period when yuri began to shed its taste for dire endings. It was frequently compared to Sweet Blue Flowers, a more serious and considered work only because both lead female characters bore a superficial resemblance to each other. Of course the two stories were leagues apart: Koto is a rom-com and Flowers is a tale of disenchantment, personal growth and finding strength. Koto‘s Sumika struggles with her feelings and then the fear that she will be forever ignored by the girl she has decided that she cares deeply for. Flowers’ Fumi experiences one classic yuri relationship disaster after another and whatever does not kill her quietly makes her stronger. Fumi is a practicing lesbian who wears her heart on her sleeve. All the lousy crap that happened to her fictional antecedants happens to her, but she will not be broken. Sumika is a happy go lucky virgin tomboy with extreme martial arts powers trying to sort out her feelings and then work up enough courage to confess and get her first kiss.

What allows Sumika the space to consider same-sex desire, and then a fragile girl-crush on her childhood friend Ushio whom she has so long protected is only the presence of the lesbian beta couple [] Tomoe Hachisuka and Miyako Taema. They are improbable. First they are a happy Lady Chatterly’s Lover trope, Miyako being the daughter of the family chauffeur. Tomoe is an 18yr old finance and business wizard who single-handedly saved the family business empire and has returned to finish high school as a last vacation in normal-ville before she goes back to runing Japan Inc(?) There are no invisible ninja bodyguards hanging around (cf Girl Saurus) but I am sure that all the students at the school know that anyone stupid enough to make rude comments in the direction of anyone who shows an interest in same-sex desire might not show up for classes the next day. Heck, they might just be vaporized where they stand by Low Orbital Ion Canon. Or their parents might end up on the dole. Still the hint that Sumika might be a “lesbian” and in a relationship is enough the threaten her run for the student council. Low Orbital Ion Canon can only do so much, but in the end Ushio, the girl that everyone knows crushes ineffectively on “cute girls” gets the position, so call it a win for the support team.

Tomoe meets a bit of reluctance from her fellow students setting up an overt lesbian isolationist club at school, but soon settles for a wimmen’s Karate club, as the effect is pretty much the same. Tomoe wants a girls’ club and she will get one. Tomoe also thinks that confessions are cute and must proceed according to a strict script, so it is up to Sumika and Ushio to figure out that they are ment for each other and nerve up to enjoy one long awaited kiss. Yes, all this was over one single solitary snog fer crissakes; just as the two are about to graduate. Oh heck!

Along the way there are plenty of impediments and distractions. Other folks crush on Sumika, one crossdressing bishonen, a girl classmate, a karate obsessed diminutive german transfer student (again female), a guy karate star, though this is more a ‘sweep her off he feet and inherit the family dojo‘ effect. There is also the threat that Ushio will have to move away to take care of her ailing grandma, though this gets resolved when her brother the yuri mangaka finds a woman who will up with him put. Strangely enough no one crushes on Ushio, who is the more conventionally pretty one. Her serial dramatic cute girl fascinations seem to have made her an object of comic relief. No one takes her seriously any more.

If one can get past Sumika’s super karate powers and the improbable rich girl/chauffeur’s daughter couple, the story is poignantly sweet. It turns on the idea of ‘cute’ as Ushio only pines for ‘cute girls’. It just takes her forever to figure out that cute is a very flexible concept that can also include ‘girl hero’. The hammers of the gawds does not smash their love to little bits. A happy ending ensues! The anime is not a complete mess, which is rare, though the manga is far superior.

Yet the power of the Tomoe/Miyako couple is the “shield” that protects and enables the entire exercise. As well as silencing bigots, it gives agency and legitimacy to female same-sex desire and makes it damn obvious than any social strictures against such are arbitrary and, with enough money, will and power, easily set aside. That they are a happily pair-bonded couple who fuck, sleep together and are for all intents and purposes married, normalises and legitimates normal human female lesbian sexuality and affection. Their importance cannot be under-rated. They are an improbable, even fantastic device but an essential one. (11)

In the theoretical literature surrounding the attraction that yuri and narratives of female same-sex intimacy have for male consumers, there is always a vague and somewhat politicised mumbling about an escape or respite from the demands of stereotypical male behaviour codes. This might be operative in some rare cases, but for the most part is smoke, intellectual laziness and misdirection. (12) The real, frightening problem is being alone. More and more people, male and female are learning that all the modern world offers them is a solitary life. If you can’t manage the earning power, social capital and the frame of mind to fit into what a proper nuclear family is advertised as being in your particular neck of the woods, enjoy your ‘roneryness. How to put up with, to live with another human being, when social codes no longer dictate who gets to do what and who has to silently defer is left as an exercise for the confused.

“…from the homicidal bitchin’
that goes down in every kitchen
to determine who will serve and who will eat.
From the wells of disappointment
where the women kneel to pray
for the grace of God in the desert here
and the desert far away…”
–L.Cohen, Democracy

You want me to do what? Fuck that! I’m outta here.

There aren’t a hell of a lot of good exemplary narratives out there of how to manage dealing with another human, even in the field of romance, let alone the grind of living with someone else year after year. Either in Hetlandia or Queerville. The passive partner accommodates, the end. (13)

No wonder us guys are looking over the fence. No wonder the wimmens are driving guy BL sock-puppets all over the golf course greens to see what could happen. As a straight guy, how do I get along with a female human being, first in matters of the heart and then maybe playing house? For a long time? No idea. I thought I was just to strut around and act manly. No wonder so many guys are desperately reading yuri and not caring about the porn bits. If there are two wimmins and they get along, there must be some clue of what women are predisposed to put up with. Is this adaptable to my situation? Oh shit, these are all just fantasy stories anyway and no one has the slightest idea of what they are going on about. Give up!

Maybe if real live lesbians and gay guys who are settled into long-term relationships start writing manga about their boring day-to-day domestic lives, we might get some new ideas…
Other than: The passive partner accommodates, the end

Perhaps the women who enjoy BL tales would then upgrade their cheesy stories and the silly yuri fluff that I occasionally sneak a peek at will offer me more than iyashi. Oh well, there is always Otaku no Musume-san if one of those blurry one-night stands has cosequences.

Perhaps somewhere out there, some two humans are living together, enjoying each other’s quiet company and deciding, day to day that life is pretty good and worth the effort to keep doing it that way. Hope springs eternal. Perhaps they have even arranged things so that one isn’t being damaged by the experience of living with the other.

We are open to suggestions here.

Anybody care to to add anything?

The silence is deafening.

All I hear is a bunch of social conservatives and more and more they sound like variant cruel and damaged sexual fetishists.

The passive partner accommodates, the end.

Social conservatives, religious or otherwise now all sound like perverts.

Who gives a rats ass that two X or Y might want to snog, compared to “you have to suffer all the rest of your life and behave like this or everything will get scary-scary-we-don’t-know but it will be bad.”

Let it.

Though the heavens fall.

Which points to a solution that I have long advocated for Kio Shimoku’s Genshiken.

If the mangaka wants to address the glaring lack of any yuri fannning and/or fandom and/or ‘bian interest in BL narratives (which are real and significant though more limited in Japan than in western slash-spaces) within the Genshiken, Kio Shimoku must introduce a ‘bian couple as new members.

As theoretically interesting as the concept of a Yuri Danshi is, the execution makes for one heck’uva loathsome creep of a character: buddy boy is out. (14)

The ‘bians have to show up as a couple, otherwise yuri tropes run wild and turn the Genshiken into a yuri goggle fest LFB/fanservice pit. As well, female same-sex intimacy must be legitimized and demonstrated to be as normal as Ohno and Tanaka’s, Ogiue and Sass’ and Saki and Kou’s relationships. Only couples can have sex in Genshiken, Only individuals who are pair-bonded can have ever experienced sex. No non-virgin singles allowed in the Genshiken. This is why Keiko is a perpetual outlier. At least one of the two new members has to be interested in BL, because “while the characters are male, the hands that draw them and the hearts that put words in their mouths are female“. And the contradictions of BL as a woman’s genre that erases women can be played with for at least a few more years, while the contradictions of the yuri genre can be teased apart.

Unfortunately a realistic male:male couple would be too much to handle in the Genshiken: they freeze Hato and all shipping, in fact the entire exercise of BL fandom in its tracks. ‘Bians only for now, please. A confused gay-ish Hato is permissable, but if Madarame’s heart is ever won over the whole fantasy BL edifice will be imperilled. “No, we don’t do that. Sorry“. Fail.

Saki’s warning that the Genshiken critters have absolutely no experience whatsoever with real homosexual people needs more work. The members will squirm. Hato, both kun and chan will face a reflection of some of the fan controversies his indeterminacy has provoked. As well, the lack of any political or real-world consequences, interest or responsibility of the Genshiken members needs some gentle poking. Some of the more pointed questions asked by real-world theorists, such as the idea that perhaps otaku/fujoshi space provides a safe, ineffective hidy-hole for nascent minority sexual and gender expression in Japan, that might otherwise manifest in real life and demand justice, need to be thrashed out.

Or not…

The Genshiken can just roll along as it has done for a while now.

One should never underestimate the attraction of iyashi.

See also:

The Sexual and Textual Politics of Japanese Lesbian Comics
Reading Romantic and Erotic Yuri Narratives By Kazumi Nagaike

Finding the Power of the Erotic in Japanese Yuri Manga
by Sarah Thea Arruda Wellington,
MA Thesis, University of British Columbia (Vancouver) August 2015

The Female Gaze in Contemporary Japanese Literature
Kathryn Hemmann PhD Dissertation, University of Pennsylvania 2013

More about BL, some yuri, follow on the above:
Queering the media mix: The Female Gaze in Japanese Fan Comics
by Kathryn Hemmann

Telling Her Story: Narrating a Japanese Lesbian Community
by James Welker

Lesbian Identity research in japan during the 1990’s
(or There are no lesbians in Japan, GET LOST Gaijin girl! The PhD thesis remains unpublished, available only in photocopy form at the University where it was lodged. I looked for it, So sad.)
Note that if they are significant numbers of Japanese women who like other women and enjoy yuri in Japan that it could be reasonable to assume that they are as similarly concerned with their privacy as Chalmer’s research subjects were.
My Queer Career: Coming Out as a ‘Researcher’ in Japan
by Sharon Chalmers, March 2002, Intersections.

2006-02-13-trouble_in_memphis detail


(1) I am unconvinced. There is another term used in fandom: squick. Using fictional squick to negotiate with real-world squick and squick culture is… an interesting idea. Good luck with that. Watch your head.
Rape in yaoi

See also Nagaike,

(2) Queering the media mix: The female gaze in Japanese fan comics
by Kathryn Hemmann

“Fujoshi and the power of female fans
[5.1] In Otaku joshi kenkyū: Fujoshi shisō taikei (A study of female otaku: Essays on fujoshi), journalist Sugiura Yumiko repeatedly assures her readers that fujoshi, the “rotten girls” who create and consume BL manga (note 36), are not poorly groomed antisocial misfits. “The majority of fujoshi,” Sugiura writes, “are adult women. They live in the real world, where things like ‘true love’ don’t exist. These women fall in love and get married in the real world, where society necessitates compromise. When they get tired, they take a break in a fantasy world, and then they go back to reality” (2006, 42). According to Sugiura, although fujoshi occasionally immerse themselves in fantasy, or delusion (mōsō), they are far from delusional (mōsōteki); for them, the world of BL is a break from reality (genjitsu), not the sort of separate reality (riariti) that attractive shōjo characters provide for male fans of the anime and manga media mix (see also Saitō 2006). Sugiura’s assessment of fujoshi is therefore largely positive (note 37). It is precisely because these women have a firm grasp on reality, she argues, that they are able to enjoy the fantasy of BL, which functions as a safe haven from the pressures of the real world.”

(3)” According to Sugiura’s interpretation, however, fujoshi are women who, while not completely passive, make no effort to actively engage with or change the media they consume. Even when Sugiura (2006) discusses the women who read newspapers on their way to work in order to gather more fodder for scenarios revolving around forbidden relationships between male political figures, she does not attempt to argue that they have any real interest in politics outside of BL fantasies. Sugiura even suggests that fujoshi have been largely ignored by the Japanese media because they are remarkably adept at hiding their fannish interests and because they don’t seem particularly unhappy or maladjusted. In other words, they do not challenge the status quo. As the subcultures associated with dōjinshi demonstrate, however, many fujoshi are not merely consumers; these women are quite active as producers as well. If fujoshi are unsatisfied with the phallocentrism and heteronormativity they see in the media mix, they create their own versions of official narratives in the form of dōjinshi fan comics, which may depict the homosexual escapades of male leads or go into more detail regarding the background and perspective of a female character who is shortchanged in favor of male characters in the original work. When female fans find themselves excluded from male-centered stories and discourse, they simply create their own.” —Ibid. Hemmann

See also Everybody’s Fujoshi Girlfriend, Neojaponism

(4) Shipping real-life politicians is considered dangerous in Japan. Since the Edo era, nothing brings down the wrath of politicians more that pr0nish satire directed at them. Entire libraries of Shunga were obliterated when the publishers started to use their educational tomes to poke fun at power. Some still surfaces, See: Even a monkey can understand fan activism: Political speech, artistic expression, and a public for the Japanese dôjin community by Alex Leavitt

(5) If I knew how to write japanese and could manage a decent manga drawing or two (ooops, wrong art degree, we don’t all know how to do everything) I would start cranking out modern updates to Flower Tales in rude dojin form wherein really stupid things happen to keep the soulful innocents unhappily separated. heads explode, a lover turns into a cabbage, girl returns home and the village is swallowed up by a sinkhole, giant meteor impact, one of the pair gets kidnapped by the LDP and brainwashed into becoming a right-wing-nut female cabinet minister, just to finally exorcise via extreme ridiculousness the ghost of this tradition. The dialogue would just need to be random purple prose plus ellipses, lots of ellipses… Did… I … mention… …Elipses?

(6) Finding the  Power of the Erotic in Japanese Yuri Manga  by Sarah Thea Arruda Wellington, MA thesis, University of British Columbia (Vancouver) August 2015

“One important notion that emerged from the attempt to understand and analyze these female-female relationships contended that there were two kinds: one that was “normal” and “harmless” and “pure”—dōseiai—no more than a passionate friendship, between two feminine girls; and, on the other hand, one that was unacceptable, the ome, in which one of the girls had an “inverted” gender and displayed masculine tendencies, exerting a negative influence, it was believed, on the ypically younger, more feminine girl (Suzuki 24-5).
significant that otokoyaku were perceived as and referred to as chūsei, one of the terms for androgyny coined at the beginning of the twentieth century, meaning “neutral” or “in-between” .

(7) Spoilers ensue:
The girl boarders at the exclusive girls school are all very, very into romantic recreational sex with each other. Most prominent of these is the Player, Shinobou Handa. She has a harem of girl lovers and flies under the radar of the school authorities, who turn a blind eye to the boarding students’ quirks. The head of the student’s morals committee has nothing in principle against female same-sex desire; she even reads feminist Japanese social sci-fi (in the general tone of Joanna Russ-ish 1970’s scifi) but is extremely irritated by the Player’s irresponsible behaviour. When the Player flirts with her, she makes it clear that while she might be attracted to the Player, perhaps even more than the Player is attracted to her, any romance is out of the question as long as the Player continues to screw around.

Meanwhile side characters run around and couple for no particular reason and indulge in mild kinks amidst declarations of romantic love. One couple faces discrimination from straight day students and the silent one in the pair is unexpectedly revealed to be a supernatural presence that must evaporate if she voices her love. Meanwhile the Player has caught the eye of a jealous, possessive and manipulative “bad lesbian” upper-class-woman who can turn the self-assured Player into a simpering easily blackmailed victim. The Moral monogamist catches the bad actor sexually assaulting the player, chases her down the hall and bludgeons her with a fire extinguisher. Scandal and expulsion ensue.

Some month later, the almost completely reformed Player tracks down her saviour, they exchange vows and consummate their romance. The vows are right out of The Song of the Wind and Trees and Thomas era Bishonen proto BL tales, though the newer English scanlations cut them down in length considerably and thereby lose the reference. A series of lighthearted comedic after-stories establish the happy couple in a lesbian isolationist social, but add one more junior member to the menage, because what the hell, this is yuri pr0n. Further omake have a shy new character repeatedly visiting a lesbian bar to try to come out and find true love among a clientele that seems to be mostly graduates of the old boarding school. However the new girl’s chances are repeatedly thwarted as old friends reconnect and an out of control drunken office lady keeps butting in and stealing all the fun. Eventually the OL and the new girl are set to collide and we can presume a happy ending ensues.

(8) A similar cross-genre appropriative strategy can be found in one of the signature works of the jousou/ otokonoko genre, Suemitsu Dicca’s Reversible. Here you have boys and cross-dressed boys in a classic boarding school isolationist space, in a genre that is a blatant effort to re-tread BL tales for a straight, mildly kinked male audience. What unfolds is yuri-ish with male bodies. Sneaky!

(9) From the respective Wikipedia entries:
Whispered Words (Japanese: ささめきこと Hepburn: Sasameki Koto?) is a Japanese yuri manga series written and illustrated by Takashi Ikeda May 26, 2007 and September 27, 2011.

Sumika Murasame (村雨 純夏 Murasame Sumika?)
The main character of the story, Sumika is intelligent, tall with long black hair and athletically gifted

Ushio Kazama (風間 汐 Kazama Ushio?)
Sumika’s best friend and classmate who lives alone with her brother, Ushio is a naive girl madly in love with cute girls. She often gets crushes but they are all one-sided.

Tomoe Hachisuka (蓮賀 朋絵 Hachisuka Tomoe?)
A classmate of Sumika and Ushio who is also a lesbian. She is in a relationship with another classmate, Miyako Taema. She is 18 years old, having taken two years off from school to save her family’s corporation from bankruptcy (a feat publicly attributed to her father). Due to this age difference, she has a more mature outlook on life than the other characters. The Hachisuka family is very wealthy and traditional, but they have no choice but to accept Tomoe’s habits.

Miyako Taema (当麻 みやこ Taema Miyako?)
Tomoe’s girlfriend. While she looks like an innocent and clumsy girl, and is popular with boys (who nickname her “Princess”), her true self is quite different, having a devilish, bad-mannered personality, and is always prone to bad-mouth or tease other people. Tomoe is the only one able to ‘control’ her; they are always together, and for this reason they had no friends before befriending Sumika and the others. Miyako is a daughter of Hachisuka family’s driver, a fact that doesn’t sit well with the rest of Tomoe’s household, but as with other things, they cannot go against her.

Sweet Blue Flowers, known in Japan as Aoi Hana (青い花?, lit. Blue Flower), is a Japanese yuri manga series written and illustrated by Takako Shimura. It was serialized between November 2004 and July 2013

Fumi Manjōme (万城目 ふみ Manjōme Fumi?)
Fumi is a first-year student at Matsuoka Girl’s High School, and is a tall, shy girl prone to crying. Fumi comes back to the town she grew up in and she meets, without realizing it, her childhood friend Akira Okudaira. When they were much younger, Akira had been Fumi’s bodyguard, keeping her out of harm and consoling her when she cried. Fumi is a lesbian and had her first romantic relationship with her older female cousin Chizu Hanashiro, with whom she had sex [note: when she was 13 yikes!]. Soon after Fumi moves back to Kamakura, she finds out Chizu will soon get married to a man she has never met. Not long after meeting Yasuko Sugimoto in the literature club, Fumi develops a crush on Yasuko, who later asks her out.

Akira Okudaira (奥平 あきら Okudaira Akira?)
Akira, nicknamed “Ah” by some of her friends, is an innocent and cheerful girl in her first-year at Fujigaya Girls Academy. She is the childhood friend of Fumi and after meeting her again after ten years is friends again. She acts as a main source of advice for Fumi.

Yasuko Sugimoto (杉本 恭己 Sugimoto Yasuko?)
Yasuko is a popular third-year senior at Matsuoka Girl’s High School. She is a cool upperclassman and the captain of the basketball team, though Fumi mistakes her for being in the literature club when they first meet. After visiting Fujigaya Girls Academy and rejecting Kyōko’s confession, she asks Fumi out, who accepts. Yasuko developed romantic feelings for a teacher, Masanori Kagami, when she was attending Fujigaya. After his rejection, she switched schools and changed focus from drama to basketball. Yasuko has three older sisters who all attended Fujigaya: Shinako, Kazusa, and Kuri.

(10) Impersonating and performing queer sexuality
in the cosplay zone by Katrien Jacobs, The Chinese University, Hong Kong

(11) Contrast this to the behaviour of the wealthy Sugimoto family in Blue Flowers. Although some members indulge their private female same-sex desires, they show no solidarity and offer no support to any outsiders. They look after their own interests, act in instrumental, rather than sentimental ways and the devil take the hindmost. They use other people, that’s what other people are for. Hello realism, you suck.

(12) When a “male” reads shōjo manga by ITŌ Kimio
(trans. Miyake Toshio)

(13) Almost completely off topic, but adult work and home life in Japan are functional homosocials until retirement and then it all goes to heck – Pratchett would suggest they need man-sheds!
see Autonomy, Reciprocity and Communication in Older Spouse Relationships by Akiko Oda

(14) Whew! I am glad we’re talking about a fictional universe, with fictional characters, made by one privileged member of his society. I am an outlander with similar privilege in my society, so of course I’m going open my big stupid and make silly suggestions. Meanwhile the politics in meatspace surrounding minority sexualities and gender expressions these days is angry and dire, and this old ain’t going anywhere near it. If it even looks like I am, I withdraw further and tender ritual apologies. Include me out, but I hope it all works out well. Please come to a happy agreement and be safe.

Genshiken 116

Ohno, the Fanatics

Ohno the fanatics crop capt final copy

Ch 116 raws are out, a fine summary at OgiueManiax too.
(thnx for the inspiration! The composition looked soooo familiar and then it hit!)
(sauce: )

I really, really need to start working on the “No Yuri in the Genshiken” theory post, but too many fun distractions keep popping up.

Hey! Y’all have 2 weeks or so to make some steamy fic for Hatozine!
Up and at it! Shimoku-sensei has thrown down the gauntlet with Spotted Flower. What do ya want? An engraved wedding invitation and a box lunch?

Anxieties of influence

Drool runs from the corners of my mouth.
There is no happiness like mine.
I have been eating fanfiction.
–(Apologies to Mark Strand)

It starts with reading manga and watching anime. Then you develop opinions, you get ideas. The next thing you know you are blogging and writing weird long essays about how everything in this manga or that anime relates to something else, and by the way, did you notice how that character and the comments about the last chapter over on this other blog just miss that One Important Detail! Congratulations, it’s all part of the journey, the process, the ride. I had the fortune or misfortune to fixate on Kio Shimoku’s meta-comedy about otaku in a university otaku club, I have followed them as they have done otaku and now fujoshi things for years. They are now a part of my life. Part of how they celebrate their otaku-ness, one of the “secondary production” efforts they persue with gusto, is creating dojinshi; publications for like-minded people, to be literal about the term’s origins. We know these in the west as fanzines and fanfiction. One would expect that diaspora Genshiken fans would follow the example of their favourite characters and do zines and fanfiction, right? If only as a participatory exercise, a way of feeling closer to a fandom and the meta fannish activities celebrated in the story.

And now some Genshiken fans on Tumbler are putting together a webzine.

Fanfiction. Must investigate. Could I? Should I? Another boring essay on Zizek and Tamaki might be a safer choice. I am not too far out in the weeds on that stuff and it is really a fine theoretical way of looking at fandom; much more useful and robust than the scattered Western approaches. Then again, it is only fanfiction, not incest or folk dancing.

What could go wrong?


It turns out that fanfiction is far scarier than I thought it would be. Not just reading it; god help you if you try to write it. You will screw up. Prose will become unbelievably clunky. Dialogue will turn to solid oak and or rotten balsa wood. Things will self-insert. Sue and Stu will sneak into your tale like raccoons into your attic. Then they will tear things up and piss and shit all over the place. A very romantic scene, possibly with lubricant and outre gymnastics will suddenly become the most important part of your story, the essential plot hinge that builds to the climax, it can’t be left out! You will lose whatever pitifully small knowledge you once held of style, syntax, grammar and finally spelling and punctuation. Dementia will set in.

Worse: it will feel really good.

It is like taking perfectly competent engineers and asking them to design nuclear reactors. Suddenly they all want to make them out of charcoal briquettes and c4 while using gasoline as a coolant, And site them by the ocean, on an earthquake fault line and put the emergency generators in the below-sea-level basement. Oh heck, lets make the basement walls out of chocolate fudge. Because we can!


Ask them to build a honking big motor, or an airplane or an oil refinery and they would go about it as sober professionals. There is something about nuclear reactor design that brings out the silly in them.

Like fanfiction, it is love waiting to go horribly wrong.

Multiplying entities without necessity is an act of love. ™

“We had actually been sitting there in the Polo Lounge – for many hours – drinking Singapore Slings with mescal on the side and beer chasers. And when the call came, I was ready. The Dwark approached our table cautiously, as I recall, and when he handed me the pink telephone I said nothing, merely listened. And then I hung up, turning to face my attorney. “That was headquarters,” I said. “They want me to go to Las Vegas at once, and make contact with a Portuguese photographer named Lacerda. He’ll have the details. All I have to do is check into my suite and he’ll seek me out.” My attorney said nothing for a moment, then he suddenly came alive in his chair. “God hell!” he exclaimed. “I think I see the pattern. This one sounds like real trouble!” He tucked his khaki undershirt into his white rayon bellbottoms and called for more drink. “You’re going to need plenty of legal advice before this thing is over,”
-Mandatory pretentious excerpt from HSTFALILV

Yes indeed. The first item on the list was to go in search of existing Genshiken fanfiction. To Las Vegas, in a monstrouly fast red cadillac convertible with tires from Sandoz laboratories inflated to 70 psi. (careful Billy, the effect is starting….) Or not. I guess I could just sit at home sweating in my underwear as the hair on my neck grows thicker and steer my browser towards Select Genshiken. Nothing appears on the screen. Curses! clever filters for innocent eyes. Now I behold one story in two parts, inspired by the first anime way back so many years ago, with a self-insert character sliming up to Ogiue, no less. Wait, filters, no crossover. Suddenly there are 31 stories. 17 of them in English.

Holy mother of pearl! They still use the term “lemon” to describe pr0nish efforts. All that net archeology I did years ago is paying off.

Wow, some of them are readable, even if our favourite genderfluid BL enthusiast does get a bit hot and steamy with Madarame! And look how many times Madarame tries and sometimes succeeds with Saki. Some of the stories are actually quite stirring and emotional. Remember, Kio Shimoku doesn’t do overblown romantic melodrama. Happily, no need goes long unfilled when true fans are around to help out.

Next stop: Archive of Our Own. A project of the Transformative Works brigade, who are heavily into advancing and understanding fan culture. There are a total of 20 Genshiken stories on their site. Unfortunately for me most are in Spanish (?) or Russian (?). Eight are in English. I read three of them, not bad, ok.

More research is needed: what are the common errors in writing fic? Where are all the really bad bits of fan-writing I keep hearing about?
More Google is indicated (MGII?).

Lots of lists of common spelling mistakes, warnings about Mary Sue, bad sex scenes, the usual. Ah here we are: examples of painfully bad fanfiction. Oh crap, too late, he reads them.

Brain is now oozing out of ears like tasty vanilla pudding.

Need more, They might be bad but they are very very funny.

This leads to the discovery of the Badfic, the Crapfic and the Paul Verhoeven of fanfiction, the Trollfic.

Yes, it is so bad because I planned it that way!“,
-explained the famous movie director.

Who is this famous fanfiction writer Hans Von Hozel anyway?

One day, Hans Von Hozel was makings of a story.
“This story will be very much goodly!” say Hans.
“All the characters must dying!”
Suddenly, Hans’s mother found him created a badly story.
“HANS VON HOZEL!!!!!!!” say mother. “You are not to make a writing of a story!”
Hans cried. His tears fell into computer and tears danubed in wires.
The computer exploded!
“Oh no!” say Hans. “This no good!”
Suddenly, mother got angry and pushed Hans in her womb. She was made a pregnant!
10 years later Hans was reborn a girl. “She is so cutely!” say mother, who is 10 years young.

Oh bad thing, Brain not feeling smart now.

But the best is more to come. Anything textual, text-y, made of letters that is being simple and awful can be either

1) Made fun of as it is read on Youtube

That popped my cherry.


2) Turned into an online random text generator.

“Wait until you reach the point where Link SUPERGLUES HIS BUTT SHUT.”

But what? It does not have a preset for Genshiken.

So undeterred, I have to type their names in then . Gee, what presets being close, do present themselves He asked?

Ensure to check the CROSSOVER box bottom of the preset list. That way you can choose the many. This also very good because it will be funny and not hurt any real writers feelings for laughing at their stories. Because bad fan fiction is so funny, I still wnat to read it.

Slowly I push the lever foreward.

OH GOD! PLEAS ESTOP< you don’t know what you are ..

(Choose rainbow page background too for gr8 justice!)

Doctor Who MEETS Fate/Stay Night MEETS Red Dwarf: Kenjiro Hatos Return
by Chika Oguie &

The following work is copywrited all to me, in full, with all rights reserved. You are permitted to read it as many times as you need, but not copy, exchange, or use its ideas or characters without my explicit permission. Permission can be obtained by emailing me at
You can also send constructive reviews there, but no petty criticisms. If I get motivations muddled,its because my cat distracted me. Also, if you don’t like my story you don’t have to have read it.

Anyway, and now on with my superior story of how things actually happened;

It was a dark and stormy night…

The next time they saw eachother Rika-chan winked at Chika Oguie, remembering what happened at the party.Chika Oguie blushed.
Some of the others giggled. Did they know? Chika Oguie didn’t care.
One day, Chika Oguie was walking to school when…
…a stranger in the street said “Could i have your autograph?” “Please, sign my buddy christ ” said the tall,dark,attractive man Chika Oguie signed it, and handed it back
“Here’s my autograph!” said Chika Oguie
“To be honest, while I did want your autograph…i see..i….i…think your the sexiest person alive, and….” the stranger hesitated! I need your help urgently! You must save us!!”
“We need someone strong, and intelligent and mighty…you have been chosen!”
“Well, I always felt there was something weird about me…I never thought i would be assigned a mission like this!”, she lied.
“You are the Special. Our magic swimsuitcame to us in a dream again and told us to find you”
“You must save us from Rika-chan we dont have the power on our own”
“Very well,I suppose I’ll help you”
Suddenly, Chika Oguie was sucked into a underground lab.
“This is where we have set up our new secret HQ HeadQuaters!
“Theres someone that wants me meet you…”
At that movement a door slid open with a funny sound…light shined from behind and a shadow stode there
“So..this is the one we are after?”
“She certainly looks as attractive as we heard” “And sexy too!” “And with nice big equipment too, judging by the huge round lumps in the clothing”
Kenjiro Hato walked out of the light!
Chika Oguie was amazed!, always brilliantly modest, Chika Oguie never dream of recieveing such a compliement from great Kenjiro Hato.
“Thank you, its an honour to meet you”
“The honour is all mine”
“It was clear there was an instant, animal attraction between them…allthough both didnt want to admit it. “wowsers your sexy”.
“No time for that now!” said Chika Oguie. “We have work to do!”

Over the next few days, more and more horrific reports came from the direction of Rika-chan’s skyscrapper.
First it was just the criminals being arrested and put to work in Rika-chan’s armies. Then anyone who was against Rika-chan was also arrested and put to trial. They were separated into groups of men and women. The men were put to work, the women were rapped until killed.

Rika-chan looked down on her works. She then petted her gorgon.
Oh yes, Rika-chan was ready for Kenjiro Hato now.

Fortunately Madarame worked at a newspaper nowadays and he used the database of the newspaper to find out home turf of Rika-san’s ruffians.
Their search led to a gay night club in the darkiest and stormiest part of Tokyo. I was a little hesitant to go. It was rather scary and it was dark and stomy in that secting of Tokyo. But the courage in me was greater than my fear because with A cosplaying Wench’s Dimensional slip I should be able to accomplish anything, right, I thought to myself.
And Madarame would join me.

So not to fall out of fashion we both stripped and squeezed into their most gothyest clothing. I had to admit that Madarame looked kind of sexy in that outfit of his. But I didn’t dare to comment on that (I had only just discovered I am bi, and I was a little angxious over that. I wans’t sure if my othre friends would accept that!.
I instead poored down my soul into my make-up. I bore incandesent blood-rose coloured finger nails with black streaking strips and gave Madarame the same treatment. Madarame gorgeous eyes met mine and for a moment we were both swimming in a pool made of a lovely combination of their eyes colours. It was romance we knew, but we didn’t know whether it was a forbidden one or not!

Oh hell, Rika-san could wait. Now I looked upon Madarame with lust filling my pecker . Rika-san could be taking over the world for what I cared, now it should be all about me and Madarame.

But little did I know that in fact Madarame had been lusting after me as well! With force and lust Madarame threw me onto the closet and thrusted himself right into me. I moaned. We came. Then we went off and defeated Rika-san.

“Why are you looking at me like that? Its almost like your want me badly. Ha Ha!”

“You’re my one true friend, Madarame, probably the best one I’ve had in a long time. I like talking to you, hanging out with you, and I even love listening to you sing.
…And now that you’ve pointed it out, I think I might like trying sex with you.”

“You’re touching me. That’s not considered appropriate behavior,” Madarame whispered, His bottom lip trembling while His limbs felt frozen.

“Maybe not. But I don’t think you’re going to stop me.” Hato chan stroked Her hand up Madarame’s hip, and pulled His shirt from his trousers. Madarame’s eyes fluttered shut when He felt Hato chan’s fingers touch the skin of His lower back. But He forced them open again and stared into Hato chan’s pretty eyes.

“I should stop you.” Madarame knew He should. This was Hato chan. Hato chan! Could He dare wreck their close friendship? And what about their destiny? But that didn’t bother Madarame nearly as much.

“Stop me,” Hato chan said, and made it sound like a dare.

Madarame was all set to give Hato chan a glare, but it faded away when He got his first real look at Hato chan.I mean sure, Madarame had seen Hato chan before, but not REALLY seen them. Not with these new eyes which Madarame now had. His eyes had been opened.Like He was seeing for the first time.Like the wool was no longer over His eyes.
Hato chan’s soft legs.
Her nice Buds.
Her very agreeable pony tail.

In point of fact, Madarames mouth went a little slack and there may have been some drool.
Other parts of Him might have been wet too.
It dripped on Hato chan.
Hato chan didn’t seem to mind Madarames fluids though. Any kinda of fluid dropping on Her was fine it seemed. “ewww” She said but half way it turned to a “owwwwwww”.
It was a “owwwwwww” of pleasure.
It was the first of many sounds to come
Hato chan opened her mouth wider for stuff to drip into.

They kissed eachother softly. Madarame whispering sweat nothings into Hato chans ear.
Hato chan and Madarames bodies entangled becoming one ball of body parts.
It felt like there was Vaginas everywhere…even when there wasn’t!

They then practiced lots and lots of sex
Once they had finished practicing, they were experts!

After they had finished – with big grins on their faces and embarrassed, they decided to go home and never speak of this again

So we defeated Rika-san and everyone was satisfied!

Rika-san: what do you mean, it’s not over yet?! I’m invincible!
Me (Madarame): No No, back into your coffin!
Rika-san: Grrrr. You will never get me in my box. I am too large and too sexy!my scones wont fit!
Author: Ohh no, it looks like the characters still want a story!
Me: of course we do! Or cake. I love cake!
Rika-san: Well I’m gonna steal your cake!
Me: Noooo! Whats going to be my dinner now!?
Rika-san: mhuahahaha, life isn’t worht living without caaaaaaaaake, so just die already will you?!
Me: OK, Ur right, life isn’t worth living without the awesomeness of cake. Farewell bitter world of cakelessness!
Madarame: chotto mate-ah!
Rika-san: huh ;^_^;
Hato chan: domo desu-ka @_@?
Me: Caaaaaake, need cake. Like brains, but cake!
Madarame: well, I want you, how about that?
Madarame winked at me, but .
But Hato chan was all hot ‘n that, I thought. So
I Left the fanfic and looked for a nice bed to crawl into together and maybe more Me: Oh definitely more, I’m going to rip your clothes off and plunge my shaft into you over and over again until you explode in pleasure and swet.

Author: well, looks like they’ll be busy for a little while. Cake?.
Rika-san: Nooo the cake is a lie. Gimme it!

We then defeated Rika Yoshitake and everyone rejoiced.

I came back from the celebrations to find Kenjiro Hato and Hato-kun in my room.

“Lucritia said Hato”, “You need to make a choice.”

Manly Hato-kun believed the same thing,” he said: I believe the same thing. It cannot go on like that.

He was right of course, it couldn’t go on like this. I had to make a choice and the choice was…

“I pick,” I said with all the pain in the wolrd in my heart because I knew that excluding one of the other was a true betrayal of my feeling. And when I looked at them, I saw them both waiting my very breath: “I pick Both of you. I can’t choose. And this is the modern age. I should be able to pick both of you! There is enough for both of you to love me!”

And they recognised my wisdom and in the end, everything was right. We all lived happily togethre after all in my new tower.

The end

Goddam, that’s some fine parser progging. I lieked reading it mad me laugh a lot and hard.

And so, we have solved the problem of the lack of Genshiken fanfiction, but truely, at what cost? One more victory like this and we shall be defeated.

My Job here is done and is over.

Small gods

On “then he woke up a girl” genderbending stories..

Why oh why? (mild spoilers ensue)

Of all the varieties of bent gender and desire manga tales out there, the magic vanishing wee-wee is generally considered the lamest. Yet they remain popular. A wizard did it (It’s effing magic!) The guy MC reacts in shock, runs around and has to learn how to be that most curious type of being; a female or rather a shojou.

Merlin web600

Put aside cross dressing stories and clumsy depictions of might-be m2f transfolk. The god/magic/aliens/drugs/radiation/triffids instant sex change cuts to the chase. Buddy boy is now a %100 cis girl and it looks like he will stay that way for a while. A new life waits for you in the outer colonies. No more wake every morning and give praise to your sky-daddy that you were not born a woman. Suddenly half the world’s population is a threat and huge swaths of organised belief systems’ followers consider you as merchandise. It is a wonder that most of these magic m2f tales don’t end in serial carnage. Step one: make friends with Koko Hekmatyar and Muricelago. Step two: PREEMPT!

Hold on a sec! We read silly comics like this so that we can avoid all the really horrible, heartbreaking, depressing, anger-stoking, soul-sucking REAL crap that is going on in the world. Don’t bring grim reality into the discussion, please!

Your average he woke up and now he’s a girl gag manga will not have the main chara on vacation in Turkey (c.f. Orlando – see below) waking up in a seaside resort room to find that he is now a girl and then taking a stroll on the beach where she will find the washed up dead bodies of children who died when a refugee smuggling ship capsized.


The plucky journalist intern now-heroine will not wake up in a hotel in Iowa for some American political primary thing (on a cold winter morning when the nearby river has frozen over c.f. Orlando – again see below) to face the horrible realization that every single candidate running for that party’s nomination in next year’s presidential election is deeply wounded, flawed, dangerously incompetent or wildly out of their sphere of competence, mendacious to the point of schizophrenic delusion and beholden to Bond-villain billionaires (except the Bond-villain billionaire who has cut out the middleman and is running himself – “Expect Mr. Bond? I expect you to MAAAAAKE AMURRIKA GREAT and VOTE for ME!”) and that all are out to win the votes of angry violent scared mostly guys who look at the franchise as an excuse for some nihilistic therapy theatre that, incidentally involves kicking down on women… Except for the one woman candidate who royally screwed up a major corporation, left with a golden parachute and ran a very stupid and amateur tv campaign last time she tried for public office, involving an actor with glowing red eyes crawling around while cosplaying a sheep. And… that one of these crazies might actually win and screw with the life support systems next year!!! Of course there is the other party. The socialist might win. If the ex-Secretary of State Secrecy wins, it will be five years of unrelenting trench warfare backlash from the party of “Everyone we hate and fear must be our slaves! Only then can we feel safe and happy!“, as it was when a black man got elected.

Crawl back into bed, draw covers over head. Stay there.

Or you could be in Japan. Maybe magically gender switched main character wanders into a 200,000 person strong demonstration that no politician will ever listen to, no right-wing newspaper will ever report, and the few centrist news sources left are too scared of a tax audit or pressure on their advertisers to make much of and that half of what they report can be retroactively classified as “secret” to land any reporter or blogger who mentions it in jail and despite that, the next thing you know she is on a viral nico-nico clip and she will be kicked out of University and never get more than a temp job for the rest of her life.(1)

Or maybe she will get lucky and just die in a shootout between yakuza as a bunch of 70-year-old guys fight it out to see who can control all the prostitution, woman-trafficking and loan-sharking in Japan.

Maybe everybody will get lucky, the global economy will melt down and some Chinese generals will go nuts and try to start a war with Japan to distract their citizenry and seize power as everybody’s life savings, food supplies and job prospects turn into dog shit.

Or they’ll just be another earthquake, tsunami, floods, mudslides and a nuclear meltdown.

Oh Fuck!

Escapism, you say? What’s wrong with a little escapism?

So, there is this nice idyllic high-school or university situation, and this guy with friends and someone he is nerving up to start chatting with…

Ahhhhhhhh! Bliss… What could go wrong?

If the work is a webcomic called The Amazing Girl-Boy’s Adventures in Femininity, expect the First Law to be enforced.
-TV TROPES – The First Law Of Gender Bending

It is always good to process the received wisdom from TV Tropes early on in an analysis. It gets the generally agreed upon stuff out onto the table. Along with the first law (Buddy Girl is not going to get to change back soon or easily) the second and third laws are worth considering as well: eventually new-she will grow to think “this isn’t too bad” and manifest some degree of acceptance. As well (3rd law) circumstance will manifest so that full gender-appropriate behaviour will be nudged at the MC – otherwise we won’t get any cognitive dissonance, bathing suit pages or even much of a story

I must exclude wish-fulfillment tales of magical medical M2F procedures; making sport of them would trespass on the dreams of people who wish it all could be that easy. Everybody is entitled to their aspirational fiction and dreams are sacred, so I’m declaring a no-go zone and sticking with the rude comedy versions where the MC gets blindsided by the change. Conversely, I will also exclude magical take-backs that involve water splashing, etc., as not fully committed to the cause. Similar problems plague the body-swapping genre; the new body is not really “theirs”. The double-double universe Japan with lawd-knows what pheromone cues (?) that cause some folks to fall into a torpor and emerge from cocoons a year later as an X (usually a girl) gets a conditional pass, even though the “natural-ness” of the occurence takes away almost all of the comedy potential. It misses most of the evil gags. Being girl-ified has to be a cosmic mishap or it ain’t scary-funny.

[Hachimitsu Hana_wa_Nisemono_c04_15 Web600

It should be noted that the magic change saves the author the trouble of making up new and odd ideas sexuality and gender, so the potential for some really clumsy and insulting depictions are reduced. A full gender-swap avoids issues of gender dysphoria. Overtly nasty institutional and individual oppressive male behaviour will similarly be avoided, because males – we guy readers are good people; there is no profit in making the male readership feel like we are all one step away from being evil scum. And it makes writing in a villain easy. As well, any and all guy author misapprehensions of women can be saved for Buddy-Girl to act out, because she used to be a gormless guy and there’s plenty of uncomfortable joke material to be cycled through playing with this. The usual problems of a guy trying to write female heroes and about female socials are turned from a bug into a feature.

God/magic/aliens/drugs/radiation/triffids turning the girl permanently into a boy stories are much rarer. Often the girl is swapped as part of pair and she turns into a jerk.

Why no boy who turns into girl becomes a real be-aytch and causes gossip, drama and comeuppance among the mean girls who deserved it? An ex-guy could never pull it off. Why no stereotype raging drag queen gets turned? Too weird, too insulting, not funny. There is one weird variant where a town full of high school girls are turned into mid-40’s salarymen but I have never been able to wrap my mind around it. A+ for imagination though, even if later I found that there is a small niche of fujoshi who really, really like stories involving steamy romance between mid-40’s rumpled males – but why start with high school girl raw materials? Instead of first menstruation horrors, will the fujoshi readership get to laugh at the terror of prostate biopsies? (Don’t ask.. ) Come to think of it, none of the Buddy Girl manga I have run into have our hero facing the stirrups and the lady-parts exam. That might be just too much for the male readership, though I dimly recall a Girl Saurus arc that had a young scared protagonist getting drafted into accompanying his mom to a ladies health clinic. The woman mangaka who penned Girl Saurus was ruthless when it came to scaring boys.

As for rotten girls: why no enthusiastic Rika-kun boy-for-a-day/ week/ month?

Turning a fujoshi into a guy would be a natural, one would think, right? Many laffs ensue, much bumbling around, importuning males, trying to find a suitable straight guy to put though heck (we assume she is hardcore and pestering a gay male just wouldn’t be enough fun). I suppose that rotten girl dojinkas wont do it and mangakas that want to lob a few stink bombs at fujoshi have easier targets.

Insensitivities aside, the reason we keep getting these stock weenie-vanish tales is because they ARE funny. Easy funny. Plenty of laff material. Lots of uncomfortable-enough that can be mined for whew!

There is even one scan group that seems to specialize only in m2f gender benders. What oh what do their loyal readers get from the stuff? I wonder what the demographic is? They practically have a lock on the back catalogue of m2f mischief stories, which make up a subset of the gender bender opus. How long does the genre goes back?

Mishima tried it in his Sea of Fertility with re-incarnation. Heinlein did a medico-supernatural m2f tale how many decades ago(?) complete with a spanking fetish (one of RAH’s minor embarrassing faves, whatever…) John Varley went overboard with his exiled-from-earth by alien dolphins humans getting sex changes whenever they felt like it in a number of his short stories and in his Popular Mechanics Guide to Suicidal Depression; Steel Beach. His characters remain essentially male, even when they suffer miscarriages. Virginia Wolf’s Orlando [] seems to find few modern analogues in CJVC, or they aren’t filtering down through the grey reaches of the world-wide intertubes;

Aren’t we inventive? We guys have been making up our own ideas of the feminine for eons.I have always considered Wolf’s detached treatment far superior to the way us guys go about it. No spanking kinks needed.

Why oh Why?

Magical castration is funny.

Mild ecchi/ service/ auto-sekuhara. Wow, I finally get to fondle boobs and what’s-all-this-now down here? Wheeeeeeeeeee! As the goddess said to Tireseus: STFU!

Curiosity/ tourism/ girl’s locker room. Ex-guy finally learns how to make friends.

Rom-com to 11 ending in reassurance.

A few pokes at what constitutes identity formation in the modernist subject.

“It immediately raises the question of what is expected, or anticipated, of a man.
It immediately raises the question of what is expected, or anticipated, of a woman.”

Well, duh… Cut to the manga.

Hana Wa Nisemono by Hiroko Sengoku (love that pen-name)

At first glance, this little manga looks a bit too thin to build an essay on. Its quirks redeem it. God-swapping the sex of one of the guys in a tentative young gay male couple at first seems cruel, but it is all handled tastefully enough. The young University-going couple is just getting over their shyness enough to think about… Then Blam! Kami is an iron (Doddering Kami-sama is just trying to help) This one is a pure shojou variant, which makes it very big on thinking about the relationship that just got messed with. And it doesn’t shy away from physical considerations. New girl gets cramps, her period and blood leakage on her new white skirt. Oh Heck! More to the shojou is the obsessive over thinking about relationship etiquette; what would the beloved want/ need as best for him, blah blah blah. Finally they nerve up enough to “try it” just as kami- sama intervenes again and switches both of their sexes. BLAM! Virtual Yaoi-us interruptus. Boyfriend is even more shocked than MC was, even though he gets a ZOMG girl body. Next day kami-sama throws up its (his) hands and restores all. Do the lads finally make the rotten girl readership happy with tubs of lotion (if you try to find sex-lube for sale in Japan you will come up rather dry until you look for “lotion”) and pages of weird positions? Not that kind of manga! The now-restored to guy-ness couple spends a few more days talking it out. They consider things a lot, they are very consider-ate. (The Jane Austin effect) One would think they will eventually retire to a hotel to discuss environmental policy ethics and play euchre. S-class BL.

A look at the discussion forums for the scans shows a lot of folks wondering why the MC doesn’t go with Y or dump X or whether the relationship can continue because of the self, vs the societally dictated and hormone driven preference: in short, relationshippy discussion ensues, as it should for a relationshippy story. I will not try to guess the genders and sexualities of the correspondents, but the whole discussion gives off a very shojo-ish vibe. It is interesting how the tiny questions that pop up with the vanilla grade transformation story get a more considered airing when the couple are young gay males rather than the shocked straight boy and his crush. We really need rule 3 above, plus eventually rule 2 to keep a straight boy transformation on track, otherwise kami-sama is just creating a whole bunch of bifauxnen lesbians and/or soon to be trans-men (no, I really am a guy trapped …)

At this point, one can also point out that rule 3 needs to be expanded or even given a subsection. Rule 3.1 should mention that god/magic/aliens/drugs/radiation/triffids do not create ugly or even plain girls. The unfortunate MC may be a bit androgynous, may not get a D-cup, but she won’t be fugly, overweight, gonk-ish or deformed in any manner. She will not be a female body builder or even a plain girl who has to load on the make-up, like Genshiken’s Keiko, in order to properly present as a good-looking female. A rule 4 would be useful too, as previous, that nasty realistic catastrophes do not intrude into the story.

What one could miss if one zipped through the manga is how our hero misses his male homosocial. Sure he’s gay but his male social isn’t sexualized, his buds just want to hang out and do guy things. The girls hang out and do girl things, but that’s part of the usual welcome to the world of girls thing. The focus on the guy’s social is good storytelling. Losing that hurts the MC almost as much as the cramps. Also, given the oddity of the gender swap, the attraction between the two young guys calls out for a sympathetic and respectful treatment (even if a bit of Jane Austin effect creeps in). As the baseline that needs to be returned to, it is what is normal and what needs to be put right. Well and tastefully played by the mangaka!

So yeah; not getting this kind of odd in western comics, or maybe you do now, at least in webcomics.. Ok, yup, some activist comics by folks who are making some point or doing the make visible thing might be doing something like it, but vanilla grade straight boy and girl mangakas doing a well-worn trope up for gags and a reassuring happy ending???

I don’t see it and have not heard of it.

Maybe they stuck it in GLEE. I have been scolded into thinking that they put everything queer-lite in GLEE and that I should be off to the re-education camps, yet I have somehow refrained from downloading and marathoning GLEE from grey sites. I avoided it too while it was on tv, not out of phobosity, but out of Fox-loathing. The last thing I tolerated on the local Fox affiliate was the Stargate franchise and even then I felt dirty. Even if our local Fox station is considered the one damn commie outpost of the Fox Empire and they keep it local and only sneak a teeny bit of wingnut bullshit into the feed… Fox has much to answer for.

But I digress. Back to OMG where’s my phallic signifier.

Compare Nisemomo to Boku Girl, by Akiro Sugito, see also

…where our hero wakes up to find that his guyhood has literally fallen off (or did it bounce out of the bed sheets and across the room?). No menses gags yet. A brief, early bit of idiocy on how to piss like a girl using a western style toilet. A maliciously juvenile rather than a stodgy confused deity. The new transfer student is named Loki Asgard, really? Well I hope she behaves better than last years The Joker Murderous Psychopath-chan. Having to deal with the family and then friends rather than a magic “nobody remembers me as a boy except my crush” situation presents its own plot mojo.

Where Nisemomo trades on pseudo BL for a shojou vibe, Boku Girl presents the dilemma as a shonen-ish challenge to be overcome, like a video game. Both are somewhat oblivious to any notions of inadvertent hurt/ annoy they might cause to folks who are out collecting micro-grudges and position themselves as light comedy; Boku Girl goes for a bigger side helping of titillation. Readers get to see the better-than-an-otokonoko character in gravure magazine poses and watch everyone squirm as best bud becomes more and more “aware” of the sweet young thing that used to be his ‘bro. Meanwhile our hero sees his crush slip from his-now-her sights to become their new BFF, while they wonder what the proper frame of mind is for navigating the girl’s side of the onsen.

Nisemomo at least has “love”. The characters did long for each other a bit, or were cautiously, tentatively trying to work through the beginnings of love.

A digression on romance:

Boku, like the majority of younger character stories has everyone ticking off the gotta do this to grow up list while dealing with hormones. Desire is a biological effect/ curse that suddenly makes one notice someone like that when they had never before. The crush on the girl is because she is superficially pretty and personable, she might as well be a car. The girl’s crush on the cool boy is similarly superficial.

Like Genshiken with Mada getting bent out of shape because he worked up enough booze fueled courage to try a man-smooch after falling on Hato, he jumps around a lot but he doesn’t get sick to his heart over wanting his one true love. It’s all about me self-consciousness rather than “fuck! why does this hurt so much? This is making me sick in the head and the guts and I can’t stop because I really, really want (her, him, ze)!”

Nobody stops coming to school because they are lovesick. Sometimes shojou girls stop when embarrassment as a side effect of a crush kicks in but otherwise it is all zoo animal maintenance and husbandry. You need to get into Shinso old-school Yuri to get pining. Or BL. Heart of Thomas starts with a school-boy suicide born out of unrequited pining. Come to think of it, the only time really heavy melodramatic romance-hurt manifested in Genshiken was in the anime’s BL parody sequence. Ogiue and Sas come close, with Ogiue tearfully running off into the woods, but no collapsed on the street in the rain sobbing “I’ve lost you, I’m tainted” shows up in the “real” Genshiken-verse. Window jumping does not count, that was also self-conscious shame, like the run in the woods, rather than pining.

Rom-com teens are considered too shallow to really get severely bent out of shape by love. That makes the mangaka’s job easier too.

Again, I want to emphasise that I am not working through the permutations to amass a collection of meaningless complaints either. I am just winnowing out the obvious non-essentials. The thing about the genre is that it remains dependably funny and new variations still seem to find un-mined veins of hah-hah while reprocessing the tailings for even more yuks. The formula works and it works well. Even if we groan when we see the same gag one more time, we will still let slip a smile. Reassurance is reassuring.

Jeebus and his saggy eared flatmate! Buddy Girl can’t figure out how to sit on a pot and piss? Duh!

At this point, I want to add Tomo-chan wa OnnanoKo! by Yanagida Fumita, into the mix, for purposes of triangulation. It is very simple and funny and no has need to tipy-toe around potentially insulting misrepresentations of anyone. No one has to have their gender changed for laughs. Tomo-chan is just a run-of-the-mill strong tomboy girl who gives a rats ass about girly stuff, relationship stuff and couldn’t read a tense high-school girl’s clique-battle-vibe to save her life. Why bother. “Buddy boy is my childhood friend, who else can I scrap with if he ain’t around?

It is refreshing. Tomo, the ultimate tomboy friend (that name) is too dense to notice the mean girls who want to snag her ‘bud, (and strong enough to scare them off any ideas of bullying her) or the sweet dumb blonde who isn’t really all that sweet or dumb and wants to snag… Or that her one female frienemy confidant has mixed feelings about giving her advice but thinks that watching Tomo-chan try to figure out her teeny tiny developing feelings for her friend (as well as his growing, hard-to-suppress feelings for her) is great entertainment…

I really want to see her work up her concern and resolve and declare to her buddy that “when the time comes, and he starts to get uncomfortable feelings for girls, that she will volunteer to be his girlfriend to protect him, because he is too pure and as a girl, she understands these things and she could not stand to see him getting his heart-broken.” Meanwhile, much blood will slowly drip out of his mouth from his bitten tongue. Aesop for guys: More dudes have found happiness by keeping quiet at the right moment than by opening their yaps. I’m just playset-ing, but if I nail it, I expect to win an internets for my Cpt Obvious insights.

Back to curiosity/ gender tourism/ girl’s locker room/ make friends the hard way

“In all three stories, the only way that the male protagonist is able to get near the girl he likes is to become a girl himself. All three boys have difficulty with dealing with the opposite sex. They, like most men, simply fear rejection. Hazumo confessed his feelings to his love, and was crushed when she couldn’t love him back. Akira and Rando are too timid to even try, so they just sit on the sidelines and dream about the relationship they can be having. This is a fear that many teenage otaku know all too well.
This feminine kinship gives the hero, as well as the reader, a voyeuristic opportunity to catch girls off guard doing things they wouldn’t do with men around. Most of the time, this just involves nudity. As the girls change their clothes in the locker room, or bath[e] together, the men get a front row view without ever getting in trouble or punish[ed] for it.
Sophomoric? Maybe. Pathetic? Highly likely. However, it does provide some nice fan service. When you’re going for a romantic story aimed at young men, sex is a necessity because it is a very dominate [oh fer spellcheck puh-lease!] urge for the audience. And by making the other girls completely comfortable with (though still ignorant of) being naked around the male protagonist, this somewhat lessens the shame of voyeurism.”

As well the new-girl cheesecake gives the readers an extra perv-lite thrill. Somewhat like cross-dressing or gender-dysphoria stories, the readership gets the “but she’s really a boy” frisson from otherwise gratuitous service scenes. Suddenly they are not just plotless displays of female flesh. Admittedly, the readership we are talking about here is presumed male, which is why the POV catered to in Nisemomo is interesting – theorists have long gone on that BL males, nominally gay or not, very easily slip into being “upgraded males” in the sense that while they lust like guys, they consider and do romance in a way more enjoyable for the female fans. If this gets confusing, just think of it as if one kami already got to Nisemomo’s couple before the kami in the story messed about.

Oh heck, brain beginning to hurt!

In some ways the (male-gaze) readership also gets a funny-light version of all the horrible fear-mongering levelled at transfolk and to a lesser degree at those who have same-sex desire; bathrooms, change rooms, peeking, voyeurism, improper glances, the potential for assault and the disturbance of the division and enforcement of gender and desire norms within the social order. Recall that some variants of world religions consider male locker rooms full of nominally straight males immodest.

Wanna really stretch out this line of inquiry? Perhaps the comedy of such situations lies even deeper than gender separation in Japan’s sacred nekkid spaces and derives from the breaking of unspoken norms of societal cohesiveness, japanese-ness and same-ness. A skinny middle-aged gaijin guy with a stooped back and no tattoos is tolerated in the men’s side at a resort onsen, but shunned at the neighborhood sento. He gets into the pool, all else leave. He goes into the steam room, all else leave. Didn’t he make a show of scrubbing himself 3 times clean all over? It is not like he is hung like a horse or anything. How uncomfortable. I wonder if he should complain bitterly about the experience over on some outlander blog? Better to warn those who would follow that Japanese sentos do not believe in chlorine. Keep your head above water unless you want a nasty ear infection. I am sure that the neighbourhood old dudes would get used to him eventually. The MC’s new body sets up a same-ok/ not-same uncomfortable oscillation in the readership that could go deeper than gender or sexuality. We outlanders might be missing something during the Genshiken sento scenes; a correspondent who taught in Korea notes that her breasts were often a subject of curiosity in the women’s bath, which now must be looked at not as envy or curiosity but a ritual excuse to welcome her into the social.

Too much speculative pop sociology!

Note as well that all of these gender-swap stories also assume that women are for all practical purposes, by guy standards, mostly asexual. Even freaky pushy harem girls who want to catch a boy are not really sexual per se, as their desires are really for societal scripts of marriage, fulfilment, love capitalism or at best romantic love as a precondition to bedroom antics. The idea that a female character would want to just DO the guy because say, his fingers are sexy and he elicits physical desire in her makes Genshiken’s Angela a bit rarer than first glance suggests. Usually such forward sexuality is the realm of the scary older woman or plain plotless smut. Fortunately the busty blonde outlander girls are incomprehensible trick can cover the lapse in Genshiken. The guys, even the guy who got zapped is assumed to still harbor a jack-rabbit libido, held only in check by crushing shyness.

Worse, if the shojou ever evinces desire, it is towards the aloof or asshole alpha and not the loser guy (now girl) pining in the background. More disappointment. No wonder guys like Yuri; the girls at least show desire that we can somewhat understand, while we cheer on any directness – although the better variants handle it in a far more classy way than we would try. In the case of the gender-swapped MC he-now-she ends up dealing not only with his leftover male want-now sexuality, but with the new normal of how girls are supposed to desire, plus the it feels gay effect if his new body’s hormones find his attention wandering towards his best buddy. It would all be easier if he-now-she just became a lesbian, but that never works either and the girl of his ex-dreams is not about to encourage it. She will never suddenly up and declare that the change is wonderful, because she always thought he was girly-cute, but never cute enough for her to bother with, due to her own quietly bubbling away preferences, but now…

In a cheesy and ridiculous way, the nominally straight, nominally male readership gets a chance to vicariously explore gender confusion from a subjective, but safe point of view and perhaps even empathize with real folks caught up in their own non-conforming desires and identities. Because “god”/ unforeseen external random circumstance imposed the change, arguments about tribal ideas of morality fall aside. Buddy Girl didn’t just decide to go queer to act depraved against all scriptural laws. But Buddy Girl is definitely queer in a working sense. She has girl-parts and girl hormones rushing through her brain and body, so it is natural that she would start thinking about that guy. But the “I” is male and to the guy mind that feels “gay”. The “I” also remembers desire for that special girl, and in the locker room it is still embarrassing because It is checking out the other girl’s bodies. Damn, It checks out its new body all the time too. Or the more ambitious obverse is going on, as in Hana Wa Nisemono.
Then there is ex-special girl/ new BFF. The new female-ish special friendship is so intense, almost intimate – is this normal? Does Buddy-Girl’s residual guy mind betray it? and where is all this wimpy proper consideration mull it over, try to figure out all the options stuff coming from? Hormones? A newfound sense of morality? Chickenshit narcissism? A realistic fear of physical and social sanction if she acts too direct and aggressive?

Confusion is accentuated to make a point, but confusion, even if it is the natural state of human existence is BAD. Recall the Book of Leviticus. Don’t mix stuff! This is good, that is bad! Don’t mix them! This behaves this way, that behaves that way or the tribe should kill you! Even wonderfully polytheistic Japan has its elaborate rules of Shinto purity and defilement to keep dangerous categories apart.

A final digression: 25 years ago Homicidal Lesbian Terrorist Hothead Paisan [] was walking down a grotty sidewalk with her new girlfriend when a big drunk guy starts hassling them. Before Hothead can shoot him and cut his nuts off, lanky-thin girlfriend straight-arm punches the fool and leaves him in a pile of bleedy-crushed face. Girlfriend then reveals that she is a post-op transwoman (who has a mean snapping jab of a punch) and apologizes for not yet having the time to mention it. Hothead looks her up and down, shrugs and then takes her hand and they walk off into the sunset (and later to a truly horrific meet her family scene, which would probably be impolitic today, but hey, you got problems, take it up with the author). Proof that you can find some real classy treatments of the same old same old when the author isn’t completely pulling minority sexualities out of their ass and writes from the heart.

hothead paisan collection cover web600

Aside cont: The collected HP works are not really for squeamish guys; the plucky heroine does not like any males at all. It seems we are all prone to unforgivable lapses of rudeness. She doesn’t even tolerate gay males but usually refrains from maiming them. Daphne however is the girl who Hothead likes and everything else is just bullshit. Hooray for romance! It was an interesting read for me, way back when. Straight women friends of university going age seemed to find her adventures hilarious and somewhat cathartic. See also:

A romantic comedy with extra low comedy on top.

You can’t avoid the appeal of the comedy bits. The Shazzaam you’re a girl is a step up from plain vanilla rom-coms or teen sex comedies. It is hard enough to figure out who the hell you are during those years. Hard to figure out attraction, dating and romance. Add gender identity confusion (no, not the serious kind) and by inference sexuality and you get a slow motion train wreck. Boku Girl at least has the sense to drop a malicious godling into the stew so as to lampshade the elaborate slapstick setups. Her job is to keep you from groaning over the mangaka’s sleight of hand. Given that the MC will now be a girl-ex-man of constant sorrow, it’s a miracle that any of these magical gender-swap victims ever venture out of their rooms once the whoops takes place. If these stories were more ambitious, each would start with someone being sent to deliver notes to the class hikikomori. All manga and anime hikis should be magical gender-swap victims. (or they think they are.. hmmmm.. story potential! The everyone remembers variant vs the no one remembers variant…)

“I’m now a girl! You always were, No I wasn’t! Well you’re one now. But I still like girls!  Everyone in class knew that you were THAT WAY Keiko, please come to class, no one will bully you… My name is Takeshi! Sure, Takeshi. Keiko, whatever…

Adding gender-role norm screw-ups to a teen romcom is like stuffing extra scoops of ice cream into a too-small cone. If there was a way to then cram all of this fun into a harem grinder as well the otaku population of Japan and then that of the rest of the world would go into a state of catatonic bliss, except for the folks at studio SHAFT who would have to pull all-nighters to make an even weirder and more annoying version than the manga. (Hmmmm.. there was a new Nyarko OVA out recently, missed opportunity, diff studio, dratt!)

How about a further variant on the appeal of the new-girl character as lazy otokonoko/josou genre story:

“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.”

Well, that might play a bit to the popularity of the genre, even if all the surface action is the MC’s “new confusing plight”. It also serves as a good intro to one final take on the popularity of the genre: it is admittedly a bit of a stretch, but whothteheck!

For Science!

The pop-lacanian trauma re-visited. Note the assumed gender of the readership:

“Even though these characters are still male inside, their outward female appearance allows the reader to fully accept them as girls at times. This presents a very unique experience for the reader that is very rarely felt with other types of comics. When the reader focuses on the hero’s motives and personality, he identifies the character as purely male. The reader relates with the hero’s desire for love and sex when being around so many beautiful women, and this creates an empathic admiration from the reader to the hero. But when the reader focuses on the character’s physical appearance, he can’t help but to identify the character as female. Not only female, but a very cute and attractive female. When this happens, the male reader actually becomes sexually attracted to the protagonist.

This switch between platonic admiration towards the boy-side and sexual attraction towards the girl-side happens very quickly when reading these stories. It could even take place while the reader’s eye goes from reading dialog in word bubble to looking at the drawing inside of that panel. This constant toggle between the two feelings eventually merges together until the reader no longer distinguishes the gender of the hero. The reader loses himself into the fantasy of manga and forms a unique feeling towards the hero for being both male and female.

Is this the same kind of unique feeling that girl get when reading yaoi? I’m not sure. But as we can see, androgyny and gender bending in anime and manga is a pretty interesting experience for both male and female otaku.

Just another example of why I love this medium so much.

This entry was posted on Wednesday, February 20th, 2008 at 8:04 pm by Scott .”

Which, despite the naive presentation is a damn fine bit of testimony that tries to tease out a very subjective take on reading the stuff. It is also a good approach, with suitable tweaking, to toss on the “why do the rotten girls?” pile as well.

Of course it leaves out the next step, the Dr. Tamaki post-lacanian ‘wound”; the “Holy shit! What did I just do to my desiring wiring?” feeling as well as the “Why do I feel like this about a cartoon character?” hysterical (hah! nice word choice) trauma that must then be mastered, reproduced and shared.

It might well be that a taste for this kind of jolt is what fuels the essential pervy-ness of Japanese visual culture fandom. The flip side of “iki” is the wide range of virtual walk(s) on the wild side(s) available to the readership. Even without the cult of Lacan messing things up, one can at least say that the gender-swap genre is a fine trick for feeding boy readers some warmed over shojou leftovers.

Of course the things can be read as modern fables and just for laughs as well. Ambitious storytellers will spin out profitable tales.

As alluded to above, the main engine of continuing fun is our newly minted heroine’s quest to get back his manhood. Of course he also wants the girl he was crushing on before the change, and then there is the problem of his friend looking at him that way, but if he were to give up and accept shojou-dom the game ends (rule 2 is kept around if you need a quick wrap-up). The story needs the treadmill to keep buddy-girl running. Unlike stock rom-coms that trade on insecurity and shared recognition of the absurdity of desire/ dating fail, but then give us a happy ending to confirm that it is all worth it, the gender swap tale can go on for an absurdly long run. Few rom-coms alone can work on such a stoic note.. All fail, all the time but the journey is worth it for the absurd yuks. The MC will end up ronery no matter what, so forward, make like an idiot and enjoy! MC must somehow not give up and throw self off the school roof.

Quit not thine day job!

What else can be said about the fantasy nature of the genre? All of the charas are destined for penury if they don’t get their priorities straight. Capital knows very little compassion. Any lifestyle is a commodity you will pay for it, one way or another. If however, they get their priorities in line with contemporary economic trends, the story ends. I would venture that even the most conservative Japanese parents would put aside concerns over their child’s sexuality and gender expression if the child was a super swot and looked like they could snag a full scholarship at Tokai.

“Heh Keiko, you back at school?”
“Yeah, and cram school after until 10pm, every night and all day Saturday. English lessons Sunday all day. Fine! I’m a girl, whatever… Boy or girl, what I am not going to be is dirt poor. What about you Takeshi, how’s the top surgery?”
“Doesn’t hurt so much now. Shit, I wish I could have gotten some of your magical swap stuff, but I still will be a man, even if I have to do it the hard way. See you at cram school.”
“Yeah, getting settled with your gender and sexuality is great, but unless you learn how to be a software engineer with a side interest in start-up financing or a math wizard into international currency markets and A.I. modelling how’s a girl or boy to eat? Japan economy ichiban clusterfuck! I figure whatever I want will be a lot easier after I make my first billion.”
“Yup! Money first! Money is sexuality! Money is gender! Money is freedom!”

LATER: Random intrusions from nasty reality

(1) Blacklisted for life? It’s happened before in Japan, Some SEALDs consider the possibilities today:

SEALDs (Students Emergency Action for Liberal Democracy): Research Note on Contemporary Youth Politics in Japan by David H. Slater, Robin O’Day, Satsuki Uno, Love Kindstrand, Chiharu Takano, The Asia-Pacific Journal, Vol. 13, Issue. 37, No. 1, September 14, 2015

How pop music sneaks into Japanese activism: Music in Japanese Antinuclear Demonstrations: The Evolution of a Contentious Performance Model by Noriko Manabe, The Asia-Pacific Journal, Vol. 11, Issue 42, No. 3, October 21, 2013.

Differentiating SEALDs from Freeters, and Precariats: the politics of youth movements in contemporary Japan by Robin O’Day, The Asia-Pacific Journal, Vol. 13, Issue. 37, No. 2, September 14, 2015

Call for Papers – ‘Asian Popular Culture’


First time I ever tried the ‘reblog’ feature. This looks interesting!

Originally posted on Anime and Manga Studies:

Journal of Popular CultureThe Journal of Popular Culture, a peer-reviewed scholarly journal that is an official publication of the Popular Culture Association is currently accepting papers for an upcoming special issue on Asian popular culture. The CFP notes that “‘Asian popular culture’ has become synonymous with the ideas, images, and phenomena of East Asia and specifically with Japanese animation and Chinese martial arts cinema”, and aims to expand the scope of the special issue very broadly in terms of both geography (East, Southeast, and South Asia) and topics, such as film, television, music, literature, sports, videogames, youth culture, and fan activities in general.

The Journal of Popular Culture has been published since 1967. Over the years, it has consistently welcomed scholarship on anime/manga. Just some of the articles that have appeared in it include Adams, Kenneth Alan & Hill, Lester, Protest and rebellion: Fantasy themes in Japanese comics (1991); Grigsby, Mary, Sailormoon:…

View original 424 more words

Genshiken Ch115: impatience

Wow! Looks like someone decided to sort things out!

Keiko loses it C115

Chapter 115 raws are out! (wheeeeee!)

We gotta talk c115

And as for certain raw sites getting all possessive with their ill-gotten content….


Some of the Tumblr Genshiken fandom has decided that they NEED a zine about Hato. Wow! HATOZINE want! must see!

Kio Shimoku might have invented Hato, might be writing Hato, but the Hato continuum is loose in fanspace and now belongs to all fans who care, ship and love the character.

I am moved by this.

From the FAQ at

” I’m a straight cis dude. Can I still participate in this?


I seem to have accidentally written a 5000 word essay about the intersections between the otokonoko and gay scenes in Tokyo and how Hato might potentially fit in once they graduate and uh…it has footnotes? Um…I don’t know if it-

Please send it to us immediately.”

Oh snap, this is sooooooooooo….

Want to see this, want to read this! Crap, I even broke down and regged up a Tumblr acct to see this, which is something an “old” like me should be careful about doing.

Full info at

Further Addendum: The review of chapter 115 is out at Ogiue Maniax. Most excellent Rika insight and meaty comments!

Your own private Game of Laplace

Ranpo Kitan: Game of Laplace and the curious case of the detective novelist’s good friend’s hobby.

(Warning: Here there be honking big blockquotes – Game o Laplace mild spoilers too.)

The currently airing anime Ranpo Kitan: Game of (lets shorten it to) Laplace is of course a bit more and a bit less than a commemorative retelling of the iconic Japanese detective stories of Tarō Hirai/ Edogawa Rampo. There is also a toned-down re-visiting of the mood of the “erotic grotesque nonsense” (ero-guro) genre that played a prominent role in the original stories, with a deft updating of the tradition by laying out bait for otokonoko fanboys and yaoi fangirls. Anyone who wonders why this little weird thing exists is bound to do a quick peek at the wiki entry for Hirai/ Rampo.

From thereon however, things get odd and very, very Japanese.

Tarō Hirai, AKA Edogawa Rampo is considered the father of the Japanese detective story and was a great admirer of Sir Arthur Conan Doyle. His Akechi, the first recurring detective character in Japanese fiction was clearly inspired by Doyle’s Sherlock Holmes. In Laplace he is a grouchy 17-year-old genius with carte blanche from “The Imperial Household Agency” (we wont go there, just as we will not dwell too much on how the civilian casualties of the Ginza invasion in the anime version of GATE were kept low through the timely intervention of ‘higher authority’). Plagued by ennui and a never-relenting (per previous; caffeine withdrawal-get that kid to make you some strong coffee dammit!) headaches he ends up with two unwanted “assistants”. The first of these, Kobayashi is a diminutive junior high school (middle school) student who is often mistaken for a girl and displays a curiously amoral, detached passivity.

Happy Zet Carnage

Grotesque murders – even those that he is accused of committing seem to be the only thing that interest him. His friend, serious rich-boy Hashiba has appointed himself as Kobayashi’s protector and gets dragged into the Boy Detective Club that updates an original Edogawa Rampo conceit. As well, Kobayashi has started to crossdress, whether for solving crimes or just to amuse himself. I recommend episode 6, A Glimpse of Hell; the remaining episodes so far try too hard but not hard enough at giving the viewer a pasteurized taste of both “ero-guro-nansensu” and “iki”, that fatalistic, refined detached air which was a big thing in Edo Japan and which I suspect is the hook for the Kobayashi character.

“As an aesthetic expression, iki alludes to a certain style of life and of art that was current in the amusement districts of Edo, reaching a fashionable climax around 1830. However, in spite of its mundane outlook, iki has spiritual roots enabling it to reconcile the idea of Buddhist renunciation with Bushido idealism. Kuki Shûzô (1888–1941) established iki as a more abstract, philosophical term by attempting to define it, in his famous book The Structure of ‘Iki,’ with the help of Western metaphysical and anthropological methods. Surprisingly, Martin Heidegger mentions the notion of iki in an essay published in 1959 entitled “Aus einem Gespräch von der Sprache.” Though Heidegger’s reflections are interesting as such, they do in not grasp the real concept of iki.
Kuki writes that “‘iki’ has its origin in the ‘World of Suffering’. […] Now, ‘resignation’, that is the disinterestedness in ‘iki’, is an urbane and well-formed heart which has gone through the polishing of the hard and heartless floating world”. Iki is produced through a “resignation to fate and the gaiety based on ‘resignation’”. Iki asks for the negation of an “everyday world” which Kuki calls the “con-ventional” world. If we resign from the “conventional” we discover style: “You will be chic when the conventional has been rubbed away”. In many ways iki comes close to a philosophical ideal of “coolness.” The decisive point is that through the negation of the “conventional,” iki will not be “dis-covered” as an “essence” that already existed “out there”, outside everyday life. On the contrary, the act of resignation from everyday life reveals a kind of iki that always exited within everyday life (and even within ourselves) but that was covered by the conventional. In this sense, Kuki writes: “If we are able to combine the abstract conceptual moments of transformation obtained through analysis, and to constitute the being of ‘iki’, that is because we already carry iki with us as experiential meaning” (73). The particular act of stylization through which the conventional is “cut off” depends on the stylistic cut called kire, which is essential to the aesthetics of iki.”

– The Structure of Detachment: The Aesthetic Vision of Kuki Shuzo: With a Translation of Iki no kozo. University of Hawaii Press 2004. Botz-Bornstein, Thorsten.

In less elegant words; stray kittens, beautiful prostitutes, pretty boys and attractive boi-dykes get into horrible life situations. Life is messy and cruel, only the fleeting moments of beauty redeem it – be careful not to over-react to these. You can pet them and occasionally feed them; you can admire the sublime moment but nothing can save them. Falling in love or sympathy with any of these is folly and will only drag you and everything around you down with them. We’re all going to die and they will die sooner, in messy circumstances. “The flame that burns twice as bright burns only half as long” and dwelling on this ruins the moment, so shut up and enjoy the cherry blossoms. Note that Iki predates the European idea of the flanneur by half a century or more. Also note that “the floating world’ was a miserable place to be stuck in for either sex; bond-servitude prostitution (slavery) remained open and accepted until the advent of the post-war constitution.

As well, Kobayashi embodies another aspect of the homage-a-Rampo-ness in Laplace; the True Crime/ Tokyo Reporter nudge nudge wink wink “deviancy” of all sexuality, be it raiju or minority. It may seem odd to the Western mind, but high levels of Japanese literacy and cultural engagement, combined with the heavy hand of the state resulted in tons of important discussion on sexuality, gender and society being carried out during the twentieth century in sensational, lurid vernacular publications. Imagine if Masters and Johnson had to release their landmark sexuality studies in Real Man’s Manly Adventure Monthly, sharing space with “Flesh Eating Marmoset Attack!!!”.

manly man attacked web600

When he was not writing detective stories Hirai/Rampo spent time with his friend Jun-ichi Iwata, who appeared to have been determined to prove that a separate, long-standing nihon-jinron ‘gay in Japan’ tradition existed independent from contaminating Western notions of sexual and gender minorities.

“Another of his interests, especially during the late 1940s and 1950s, was bringing attention to the work of his dear friend Jun’ichi Iwata (1900–1945), an anthropologist who had spent many years researching the history of homosexuality in Japan. During the 1930s, Edogawa and Iwata had engaged in a light-hearted competition to see who could find the most books about erotic desire between men. Edogawa dedicated himself to finding books published in the West and Iwata dedicated himself to finding books having to do with Japan. Iwata died in 1945, with only part of his work published, so Edogawa worked to have the remaining work on queer historiography published.[12]”
— (per Jeffrey Angles, Writing the Love of Boys: Origins of Bishōnen Culture in Modernist Japanese Literature. Minneapolis: University of Minnesota Press. ISBN 978-0-8166-6970-7.) – Wiki enty for Edogawa Ranpo/ Rampo,

… And here I do a bit of link following and lookie what turns up! A Cliff’s Notes summary of the whole ball o wax by Brad Borovitz, academic, cultural critic and conceptual/ software artist originally written back in 1993. (This is damn fine, take some time later and read the whole thing)

“Iwata’s friend Edogawa relates that he was completely disinterested in Western materials on sexology while Edogawa found them both fascinating and important. In fact, Iwata refused to treat the ethnographic dimension of homosexuality; but his relationship to ethnography is complicated. He did do other “ethnographic” work (such as a study of Toba area pearl divers) and was associated with minshukugaku (民衆苦学) especially through his correspondence with Minakata Kumagusu (南方熊 楠). If, as I assert, Iwata’s historical project is a response to a new sexuality that has everything to do with the West, his refusal is significant; it seems to suggest a reactionary positioning. It may represent a reaction against the ethnographic attentions of the West—Edward Carpenter (1911), Ferdinand Karsch-Haack (1906) and Magnus Hirschfeld, all wrote about the phenomenon in Japan —and an enactment of defiant self-definition, a “writing back”; or, it may be defensive appeal to tradition in response to the undesirable influence of Western notions of sexuality. In doing history, Iwata performs an implicit rebuff of a privileged foreign knowledge and in a claim for identity and consciousness absents the imposing voice of the West.”
— The Discourse on “Love Between Men” in Interwar Japan: Iwata’s History of Homosexuality by Brad Borovitz

Unfortunately, there were not that many academic journals available to social anthropologists in inter-war Japan, so…

“Edogawa Rampo relates that Iwata spent a great deal of time searching in old book stores for sources and meticulously taking notes on his material before he ever wrote anything for publication. It was apparently at Edogawa’s urging that he published the series of essays called Honcho Nanshoku Ko, “Reflections on Love Between Men in Our Country,” in Hanzai Kagak, “Criminal Science [Magazine],” starting in June of Showa 5 (1930). This first series proceeded chronologically from the beginning of recorded Japanese history—citing the Nihon Shoki (c. 720) and the Shoku Nihon Gi (c. 797)—up to through the Kamakura era (1185-1333). Other essays, published mostly in the in the same journal, also covered the Muromachi era (1333-1573). He went on to publish, less systematically, work that dealt with the Tokugawa (1603-1868), but he tended to focus more and more on the literature of nanshoku, through collections of stories. His final work, never published in his lifetime, was Nanshoku Bunken Shoshi (男色文献書誌), “An Annotated Bibliography of Male Love.” The manuscript was finished in 1943, but it was not published until Showa 31 (1956). Nanshoku Bunken Shoshi is a 370 page long carefully annotated bibliography of all references to nanshoku in Japanese literature from the Manyoshu and early chronicles through the literature of the Edo period. Considering even just the scope and form of his project, it seems that a great deal of rhetorical force is collected behind an assertion that, as something that pervades the history and literature of Japan from the earliest time, nanshoku is thoroughly Japanese.” – Ibid Borovitz

Flying rodents ripped my flesh

Other vernacular publications at the time included “Sex-Customs Storybook Magazine”, “Sex-Customs Science Magazine” “The Grotesque Magazine” and “Hallucinatory Literature Magazine” (per,Jeffrey Angles, Index, Ibid, passim.) Rampo made his living writing demi-monde thrillers and critics argue that he went from cerebral detective fiction to straight pulp sensationalism very quickly.

“The prescriptive literature of Habuto, Sawada and other experts who offered their counsel to the officials of law enforcement and education, found another audience in the bored urban middle class. Valued for their ability to titillate with descriptions of deviant sexuality, these works became part of a growing underground culture of sexology, part of the era’s popular fascination with ero-guro-nansensu (エロルロナンセンス), erotic-grotesque-nonsense. Iwata’s work, published as it was mainly in crime magazines, may teeter on the line between these genres of academic sexological discourse and popular erotic interest.” – Ibid Borovitz

See also this short passage from Nippon Modern: Japanese Cinema of the 1920s and 1930s by Mitsuyo Wada-Marciano

Lets see if I can get the embed to work for Google Books:

Despite his “fall” the move proved popular and ultimately secured his place in the popular imagination. A flanneur detective who can slip through the seedy underbelly of Tokyo proved to be a durable creation.

Also: Nippon Modern: Japanese Cinema of the 1920s And 1930s, by Mitsuyo Wada-Marciano

Nope.. Google Books embed ain’t gonna happen! Phhhttt!

Recall as well from an earlier post how 1950’s discourse on minority sexualities ended up in pulp magazines:

“The second characteristic of the genre was the animated exchange that took place between specialist researchers, amateur researchers and the readers themselves. The hentai magazines frequently organised round-table talks where medical doctors, writers, readers and editors came together.[4] Here the discourse of modern medicine which categorised perverse sexual desires as ‘abnormal’ stood alongside testimony from people who themselves had interest in these marginal sexualities. This queer space of the hentai magazines, then, allowed the official scientific discourse of the sexologists to interact with personal testimony from people designated ‘abu’ [abnormal]. That is, these magazines themselves functioned as a type of ‘contact zone,'[5] in which hegemonic and subaltern representations encountered and interacted with each other. Hentai magazines like Kitan kurabu created readers’ columns that stimulated discussion about articles and encouraged exchanges between their readers. Such readers’ columns not only functioned as personal advertisements which offered people with the same interests the opportunity to meet, but also they enabled readers with different sexual interests to engage in dialogue together.” – ‘The Process of Divergence between ‘Men who Love Men’ and ‘Feminised Men’ in Postwar Japanese Media’ by Ishida Hitoshi and Murakami Takanori, translated by Wim Lunsing

The point of this excursion into pulp fiction is that like “Pulp Fiction” or better, “Blue Velvet” anything that did not lead a salaryman and a mom to raise normal offspring had one foot already into a strange and probably lethally dangerous hentai demi-monde.

So put aside this childish stuff, shape up, marry and reproduce!

The feminization of men and the masculinization of women and the neutered gender that results is a modernistic tendency that makes it impossible for the individual, the society, or the nation to achieve great progress. Accordingly, since the manliness of man and the femininity of woman must forever be preserved, it is imperative that we not allow the rise of neutered people who defy nature’s grace.
– General Ugaki Kazushige [], per Borovitz, Ibid

If you want more ero-guro nonsense in updated form, hunt out a copy of the 1968 film Black Lizard, directed by Kinji Fukasaku:

” The movie was adapted from Rampo’s novel of the same name by noted author Yukio Mishima, who also appears briefly in the film. The story pits the detective against a female mastermind, known as the Black Lizard, who is played by transvestite actor Akihiro Miwa. The film is considered high camp with its bizarre conventions and over-the-top performances but has a loyal following among fans and critics alike.” —

Yukio Mishima and his transvestite lover ??? Laplace’s cheesecake derivative is a pale shadow! Many years later this Black Lizard will re-appear as the voice of the witch in Howl’s moving Castle. Miwa is alive and well today and still getting TV gigs. The soundtrack was composed by the now-famous composer Isao Tomita [] who would later go on to score a slew of renown anime classics and collaborate with an orchestral composition for Hatsune Miku  []. Mishima’s  cameo in the film was as an embalmed corpse.

With Eng subs – (hope it stays up for a while)

A little more digging turns up a bit more info on Rampo’s original Akechi character:

“Kogoro Akechi is a tall, handsome man with heavy eyebrows who dresses well. He is married to a woman named Fumiyo (文代) and lives with Yoshio Kobayashi, the leader of the Boy Detectives Club. Kobayashi often plays an important part in solving cases. Like his mentor, he is an expert at disguise and is especially adept at posing as a young woman. Aside from these relationships little is known of the detective’s personal life, which always takes a back seat to the mystery in his adventures.
Modern references to him can also be found in Gosho Aoyama’s popular and long-running manga series, Detective Conan. One of the characters, Detective Kogoro Mori is a persistent and courageous yet highly flawed and lecherous private detective—almost a parody of Kogoro Akechi. He has his cases solved for him by the youthful main character, Conan Edogawa. The name of young Conan’s elementary school detective club is the “Detective Boys”. Akechi himself is highlighted in volume 2 of the manga, in “Gosho Aoyama’s Mystery Library, a section of the graphic novels (usually the last page) where the author introduces a different detective (or occasionally, a villain) from literature. Further Akechi references can be seen in Aoyama’s other series, Magic Kaito, where a master thief who steals high-profile items for recognition.

Both Akechi and the Black Lizard are referenced in the Sakura Taisen series of video games and anime. One of the musicals performed by the Teikoku Kagekidan is Benitokage (“Crimson Lizard”) and features the title character, a criminal femme fatale, along with a handsome young detective named Akechi Kojiro. The manga and anime Nijū Mensō no Musume, or the Daughter of Twenty Faces, focuses heavily on Akechi’s arch-rival. Akechi himself is featured as well, but as a much more minor character. Akechi is also referenced in the character of Police Superintendent Akechi Kengo in Kindaichi Case Files, a popular detective manga series. In the media franchise, Tantei Opera Milky Holmes, Akechi is represented by a girl police detective named Kokoro Akechi.

Recently, a new Anime series entitled Rampo Kitan: Game of Laplace has been created, based off the Mystery novels of Edogawa Ranpo, and in commemoration of the 50th anniversary of his death. The story follows Kobayashi (a reference to the leader of the Boy Detectives) who becomes assistant to eccentric 17 year old Akechi. In this Anime Twenty Faces also makes an appearance as a vigilante serial killer.”

Back to Laplace and Kobayashi. Like the second iteration of the Genshiken, the point of view shifts to the otokonoko character; Akechi, the nominal hero is a grumpy cypher. Unlike Kenjiro Hato though, Kobayashi is a far more problematic character. Wake up in a pool of blood holding a hacksaw to find the dismembered body of your home room teacher nearby? “Wow! Neato, school was beginning to bore me!” When the case resolves, it turns out that the murder victim was himself a murderous pervert who in turn was killed by a jealous complicit almost-victim who suddenly was tossed over as the dead perv began to fixate on the beautiful but emotionally vacant Kobayashi.

What follows after this is a sad parade of child murderers, vigilante killers, sex crazed female criminal masterminds, industrial magnate sex cultists and other assorted freaks.

One wishes that this Akechi gets a Fumiyo to calm the whole mess down a bit.

Aside from Akechi and Laplace, the weird circumstances of the study in Japan of minority sexuality and gender expressions in the twentieth century remains. The first and for a long period thereafter, the sole comprehensive examination of historical Japanese homosexuality was midwifed/ or mid-husbanded by the formost pulp detective writer of 20th century Japan. The Legendary Professor Munakata also makes an appearance. There is a strong feeling that he is modelled on the famous Japanese folklorist/ biologist Minakata Kumagusu[] [The Legendary Musings of Professor Munakata]

“The well know biologist and folklorist Minakata Kumagusu initiated a correspondence with Iwata about nanshoku after reading Honcho Nanshoku Ko in Hanzai Kagaku. The fact that Minakata read Hanzai Kagaku, and took Iwata’s work seriously enough to engage him in dialogue shows the degree to which popular and high culture were integrated and the extent to which ero-guro-nansensu was part of both. The correspondence lasted from 1931 through 1934, a total of 58 letters that take up over a hundred of pages in Minakata’s collected works. ” — Ibid Borovitz

The odd circumstance of the evolution of early Japanese sexology as topic for popular discussion was that it was often soaked in “Japan-ness vs foreign-ness”, the discourse of nihon-jinron. Faced with Western research that pathologized minority sexualities and/or wrote them as a symptom of societal breakdown, the historicist approach holds the possibility of rebutting at least some of the wild claims that were beginning to wash up on Japanese shores. From the inescapable historic fact that throughout human existence some folks experienced same-sex desire and others felt that they don’t quite fit into how their genders were supposed to behave, all manner of mapping and other-ings can be invented to fit the whims of the moment. Years later, in the West, some theorists will throw up their hands as well and look warily at nature/ nurture, convinced that either or both approaches can and have been too often refashioned into crude cudgels to be turned upon the subjects of their speculations. A historicist approach instead normalizes, with a message of “it has always thus so been”. Only the tales that the nosy neighbours tell change.

What we are left with is a curious and long-standing tradition in Japan of using vernacular cultural spaces, normally the locus of cheesy stories, as contested space (or spaces) for competing views, interests and arguments over sexuality, gender and therefore identity. That this practice continues today, in the myriad spaces of Contemporary Japanese Visual Culture is part of a long running dialogue, and inseparable from the larger project of modernity.

In this wider context, the common complaints levelled at otaku and fujoshi seem beside the point. We must wait to see what larger projects emerge from these hobbies.

The Genshiken lacks an ero-guro otaku, though I suspect that Rika is written as knowing most of the historical stuff. The lack of guro even if there is sufficient ero is curious.

Bonus: Ero-Guro nonsense – with Yakuza!

Track down Branded to Kill and its over-the-top sexploitation yuri remake Pistol Opera
A video review:


Outlander must save the Japans! pt2

Repent Alien Jones!

.. But do you know WHY we sleep? (0)

Comiket is this weekend, I haven’t done up my review of the Spring 2015 mini-international-comiket that I managed to attend back in March. I was looking at my pictures and they are all kind of meh! I wanted to follow the rules and was too flustered at being completely unable to function in Japanese to sign-language-annoy table folk and volunteers for permission to photograph more than a couple of them up close. Almost all the pix are sweeping wide crowd shots of folk’s backs. Boring! I barely got to talk with anyone, because I suck speaking Japanese, didn’t push my luck and demand a minder/ interpreter (I wangled a press pass) and ended up completely overwhelmed. I also overloaded myself with gear and managed to get a mild scolding for plopping myself down on the grass out in back next to the garbage bins and sneaking a smoke. Gomen! How embarrassing. (there were plenty of Japanese style pariah pits in the front of the convention halls, but I was too bagged to trudge back to them, gehh! Outlanders, can’t trust us with anything… )

The critical anthology Fandom Unbound has an interesting chapter on Comiket and it could be integrated into a post…

There are also chapters on cosplay and rotten girls, and something that is hanging un-mentioned in the Genshiken-verse that needs some poking with a stick. Nidaime OVA #4; there I said it. No yuri here, no way, nope, not in the Genshiken. Lets change the subject fast. Quick, nudge Hato into a fugue-out, whew! 

But these will have to wait because…


Ah, is that so Commander? I really have to run...
…Ah, is that so Commander? I really have to run!

Normally I would try to drop the idea onto some of the more well-known English-language blogs about life in Japan, something like the bitingly funny Japanese Rule of Seven, and hope they pick up on it but this is far too serious a matter. Comiket is upon us again, tourism to Japan is picking up, the Olympics are only a few years away and yet…

A specter is haunting Japan

The specter of disappointing, weak canned vending machine coffee!

I’m serious! You can’t fool me, Alien Jones. Your coffee sucks! All Japanese vending machine canned coffee is piss-ant weak, tragically, disgustingly unsatisfying, homeopathic, cheap-ass, zero strength useless brown-ish dishwater water. (perhaps there are a few perc-into-a-cup style machines left somewhere in Japan, but mostly its canned coffe if you want coffee) Sometimes it smells coffee-like, but don’t let that fool you, your disappointment will only be greater. And I sooooo wanted to believe! Sure it comes in nifty heated metal cans. Sure it has coffee-looking pictures on the cans. Sure you can get a can for Y100-Y140 almost anywhere. Sure they have the world’s kewlest commercials for it: none of it matters if the coffee is weak swill.

Where I come from, we call it KITTEN COFFEE

…Where I come from, we call it Kitten Coffee

This coffee is not acceptable and must be denounced! 

The crying shame of it is that Japan rally really knows coffee – almost in a biblical sense. They are very, very, very good at coffee – except when they put it in a can in a vending machine. They make coffee to die for; to die, have some dribbled on your cold corpse lips and resurrect for. Coffee at their Starbucks is better than coffee at your Starbucks and Japanese Starbucks coffee is middling good on the scale of what you can get in Japan. Sure you might end up paying Y500-Y800 a cuppa, but it will be a wonderful experience. I recommend the little chocolate cakee thing too, even if it runs you another Y1000.


More on this at: (also from whence the alluring pic above came from)

On the low-end of the scale 7-Eleven is pushing out brewed coffee in a big take-out cup for Y100, and all their stores have nice clean restrooms as well. No reports yet as to whether that Y100 cuppa has any guts though!

And we need to talk guts here.

Too_Much_Coffee_Man web600

Weak coffee is the world’s number one cause of salaryman burnout, falling productivity, depression and even suicide. The reason all those Japanese companies make their employees work 12-14 hour shifts is because everyone is so burned out and zombie-fied that they are getting nothing done. And when they need a lift? Hah! Nothing but a cruel disappointment! The entire breakdown of the Japanese family, the hellish hours, the absent breadwinner, the alienation and despair can all be attributed to weak canned coffee!

pain doesnt go away w600

Oh sure, weak coffee has its place; some folks have delicate innards or get the shakes after 10 or 12 real cups and might need to take it easy for the rest of the night. A few tormented souls may even find that coffee is not their cup of tea, but since this is Japan, we pretty well have the tea thing covered, neh? I will mention one more thing: every single co-worker or boss that I have worked with that made a fuss and insisted on weak-ass coffee in the workplace coffee-maker has turned around and stabbed me in the back. I shit you not. So it is not as if I am equating a preference for thin insipid pseudo-coffee with personal moral bankruptcy or psychopathic behavior but the coincidence leaves me cautious. Fool me once…

guess why you have a headache tag web600

I blame Coke!


“”Back in the ’70s, one of Coca-Cola Japan’s regional distributors came out with one of the first canned coffees, Max, and when it tried to expand the brand, Coca-Cola in America wouldn’t subsidize it because it couldn’t understand the concept of coffee in a can. But when Max took off, the parent gave in and Georgia was born, as well as the whole canned coffee culture in Japan.

Boss, which Suntory launched in 1992, is now the second-biggest-selling line, and the company has invested a lot in trying to overtake Coca-Cola. In 2000, Boss sales were about a third of Georgia’s. Now they’re about two-thirds.”

Anyone old enough to remember American restaurant coffee from the 1970’s? It was just as miserable and weak as the Japanese canned stuff is now. Back then, unless you got lucky and found a pot of joe that had been slowly turning to tar on the truck-stop Bunn-o-matic all night (Ah! Heaven! 100-mile coffee!), a cuppa at the lunch counter would probably be a weak and foolish insult to the coffee gods, even if it came with free refills. This grievous bit of culinary malpractice must have traveled across the seas and settled in as a tradition in the Japanese market when Coke Japan started putting the joe in a can. While the Japanese are world-class at mastering whatever strikes their fancy, they are also sticklers for authenticity and tradition. Japanese vending-machine coffee perfectly recreates weak 1970’s mid-America lunch counter coffee. The very horror that brought about the 1980’s retail revolution in North American coffee consumption, launched a thousand Starbucks and infested entire inner cities with hipsters in its blowback still lives in every Japanese vending machine that dispenses canned coffee.

You can see how desperate a situation this is.


Not that I have not been warned about the futility of using an English language outlander blog to gripe about Japanese practices, and not that I don’t take Matt Thorn’s heartfelt admonitions seriously (1) but what else can I do? The country I love to visit, the country of manga, anime, yummy food and she-who-up-with-me-puts is in peril! Dare I stand quietly by?

I am not suggesting that they destroy what some might now consider a Japanese tradition. The Japanese rebuild their temples every 40 years or so and they have been drinking weak-assed canned coffee for that long, so by now weak-assed canned coffee is probably as traditional as mikos piloting giant robots. But innovation lives side by side with tradition in Japan! Red Bull and native Japanese taurine energy drinks (that 3000 stuff is freaking amazing, but it ain’t coffee) are all over the shelves of their every-8th-storefront drug stores. (Drug stores in Japan; there are probably more of them than combinis) You just need to present decent coffee in a can as something new, possibly with a nifty manga or anime tie-in to give the market a long-withheld and well-deserved caffeinated boost. Our hero Too Much Coffee Man probably won’t work for Japan.  The traditional tough-guy manly man who prefers deeds rather than words is already maxed out. Boy-band members are wimpy. Wimpy we got too much of already.

A pro wrestler might be a good choice, or Murcielago, or both! Otherwise Japan is going to get desperate and start drinking the great lukewarm sticky evil: US-style Mountain Dew (2)

The Horror! The Horror!

Immediate stopgaps are possible: Alcohol free coffee liqueur in a can; Kaluha Free Zero (or would it be Zero Free?). Something built on the idea of espresso (although real espresso is strong on flavor and aroma, but curiously easy on the caffeine). Where is Starbucks when you need them? Given the “pedigree” of their name in Japan they would probably avoid rocking the boat and would make any canned coffee just as pathetically weak as everybody else’s. That’s the way things are done in Japan. You show respect for tradition.

Well screw that. Japan makes awesome coffee, in a cup. The best minds of the planet must be mobilized into cajoling the big Japanese beverage companies into sticking it into a thin little cans and putting it into their vending machines, hopefully by yesterday.

bebop coffee gif

There! I’ve done my duty. Hopefully the call will spread and the forces of righteous coffee enjoyment will prevail. We can all look forward to the dawning of a new age in Japan, and then slowly, inexorably across the planet as strong, tasty canned coffee becomes as well-know a Japanese innovation as cup-o-noodles.

For Great Justice!

Holy Shit! it’s almost 6am. How the &^%$& did I manage to stay up all night on this stupid post?

(0) Grrrr! Just noticed the ad-blocker and privacy plugins are suppressing WordPress photo captions and some of the embedded videos. So now I have to put the captions in the text and hope the formatting makes sense. Oh Lord give me strength!

(1) Matt Thorn’s blog is curiously down/ and/ or looks like it has been grabbed by a troll trying to sell foreign exchange trading tips. See this Japan Times post for a precis of his argument:   So I might be outlander-complaining. No way, I am trying to SAVE Japan from the scourge of fake weak coffee that is at best a misapprehension of an American mistake, at worse a furreign corporate plot!

(2) Mountain Dew is made by a special process that absorbs ambient room heat so that it is always tepid. The Canadian version is not jacked with extra caffeine.

(3) redacted

(4) The tagline from a legendary story from around these parts. An old woman of apparent Eastern European extraction and somewhat military airs enters a hippy-ish coffee shop, sits down at a table, pulls out a thick commie book and notebook and pencil and then asks the server in a loud voice: “Is the coffee here acceptable, or must it be denounced?”

Hello Kitty guitar ftw!

“In the land of the blind, the one-eyed man still only has one eye. He does not necessarily get to be King.”

It is disconcerting to run up against one’s own blind spots. The natural reaction is to dismiss what one cannot fathom: just because other folks can see something in the mist doesn’t necessarily mean that it will be interesting or useful for me. Here in meatspace, I just spent a few evenings watching world-class experimental films and for the most part, even though I have a strong background in the fine arts and a wide range of interests I must confess to Idongettitt for the overwhelming majority of the offerings I watched. It’s just me. Fortunately I know enough about the condition of being bemused to realize that there is usually a huge, lurking body of knowledge, of prior work and “lore” that I have no idea about and which forms the context in which the works I sat through, some boring, some fiercely opaque, that if I knew might redeem the evenings’ experience for me. Or not…

If I knew more, I would probably be in a rapturous state for having discovered one of two amazing new things. I suspect I would still be cranky and dismissive about a few others; I have used the “repeats over and over and over for far too long to prove that it is serious art” trick a few times myself. Sorry, not buying it. On the other hand, I know that I am biased towards words and narrative; some of the works that I found, subjectively the most annoying must be pure eye candy to folks with a strong visual bias; which is something to remember if I am going to spout off about Contemporary Japanese Visual Culture.

I should pay more attention to the pictures, and to the stuff that is going on offstage in the dressing room.

With this is mind, here is a round-up of neat miscellaneous stuff that I have run into lately, that ended up in the “never looked at it like that before” pile.

Alice +rabbit

I have previously noted Masafumi Monden’s short essay: “Shōjo Manga Research: The Legacy of Women Critics and Their Gender-Based Approach”  []
Reading more of his work on the Alice and Lolita fashion in CJVC reminded me that I had been doing a lot of looking,but not enough observing. Monden’s work comes from a background of design and fashion studies; which sounds pretty “out there” if your hobby is throwing light critical theory at manga to see what sticks. The above essay went on to make a case for shojo ballet manga as far more common and as deserving of attention in the study of shojo manga as gender non-conforming girl princes. Then you stumble on to something like his “Being Alice in Japan: performing a cute, ‘girlish’ revolt
[] (You really need to reg up an account, it’s a free and easy way to sneak around a few academic pay-walls) and the executive summaries “A Gentle Kind of Revolt: Cute (Kawaii) Fashion and Japanese Music-video Appropriations of ‘Alice” 
[ ] and “Lace Dress of Liberty: (Re)appraising Decorative Femininity through Kamikaze Girls [ ]  that help to fill in some of the meaning that is invoked when a certain character type is presented in CJVC. Who’d have thought that Alice in Wonderland was such a big thing in Japan, or that its legacy is one of appropriation and localization:

“Lewis Carroll’s two books featuring Alice have had a strong presence in Japan since the first Japanese translation of Through the Looking-Glass in the late nineteenth century. It started with Hasegawa Ten’kei’s Mirror World (Kagami sekai), a sequential novel in eight episodes published in Youth’s World (Shonen sekai), a magazine for boys, throughout 1899. In Hasegawa’s version, the name of the heroine was changed from Alice to the more Japanese Mie, and the story was more an adaptation than a direct translation (Kawato 2000). Under the pseudonym of Sumako, Nagayo Shizuo published possibly the first translation of Alice’s adventures in wonderland in the newly created girl’s magazine Girls’ Friend (Shojo no tomo) in 1908. While using the name of Alice, the story was again more like Nagayo’s adapted story rather than a direct translation of Carroll’s book (Kawato 2000). Maruyama Eikan’s Fantastic Tales of Ai (Ai-chan no yume monogatari), published in 1910 by Naigai shuppan kyokai, is said to have been the first complete translation of Alice. This 209-page book with Tenniel’s illustrations, where the heroine is called Ai instead of Alice, indicates the difficulty of fully translating Carroll’s word play and puns into Japanese. This might have been one reason why Hasegawa and Nagayo focused on harmless, fantastic aspects of Carroll’s novels (Kawato 2000) rather than their darker nuances. Nonetheless, the Japanese literary world’s fascination with Alice has continued, and nearly 200 editions of Japanese Alice and Looking-glass (including reissues) have been published between 1908 and 2004 (Sakakibara n.d). The current popularity of Alice is largely thanks to Sir John Tenniel’s celebrated illustrations (1865 and 1872) and Walt Disney’s now classic film Alice in wonderland (1951), which was first released in Japan in 1952.”
– Monden, Being Alice in Japan, etc., Ibid.

Also of note is his short examination of what happens when it spreads, as fashion without the context to the rest of the world: “Transcultural Flow of Demure Aesthetics: Examining Cultural Globalisation through Gothic & Lolita Fashion” []

Monden is interested in some of the shojo heroine types that don’t usually get coverage in crit-space. The thing about Alice is that Wonderland does not faze her. A normal person would freak out. The place is weird and dangerous but Alice spends most of her time either distanced or annoyed. The Alice figure becomes a liminal almost-super-girl, who is a spectator but not a participant in the “economics” of conventional female roles. She doesn’t have to be a child or a potential sex-prize, or responsible good-wife/ wise mother in training. She stands outside of these roles and their functional imperatives and therefore outside of mortal time. And she is ever ready to throw all the cards up into the air.

An entire slew of ageless hidden high school principals, bratty loli vampires and death god’s apostles, as well as the laconic female lead of the Ouran Host Club all trace their descent from Alice. I should have paid more attention to the ruffles. There was a hint of this in “Girliness Next to Godliness: Lolita Fandom as Sacred Criminality in the Novels of Takemoto Novala” by Brian Bergstrom, in  Mechademia 6: User Enhanced (2011)

…but it gets lost in the fireworks:

“As the story ends, the protagonist imagines fulfilling Mishin’s request that she use her Hello Kitty guitar to bludgeon him to death on stage during Ryūnosuke’s memorial concert the next day:

I’ll do it. Even if your survival instinct kicks in as I start to hit you and you try to run away, even if you tell me you didn’t mean it, tell me to stop, tell me not to kill you, I’ll keep my word. I will beat you to death with my Hello Kitty guitar. I’ll keep hitting you in front of all those people without a second thought, until your skull is in pieces, until I’m bathed in your blood. With these hands, I’ll make you eternal.”
-Ibid Bergstrom

Another of my blind spots centers around the problematics of performance and performative analysis. I’m not a theater person, performance art is mostly a “meh!” to me (I have done the usual readings because of the Fine Arts thing, but still… whatever!”). Cosplay is fun enough, but let’s not get too obsessed over it – I am old enough to remember it as little more than the prelude to all-night scifi convention piss-ups. Maybe the new iteration radically changes something.

Oh, lookie, an essay on Western M2F crossplayers:

“Good crossplay reveals the pure love for an anime character […] that is at the heart of all cosplay, regardless of the gender of [the] cosplayer or the character being cosplayed. In my perspective, it takes a real man to dress like a 10-year-old girl.”

“Traditional societal perceptions of gender are no fun anyway. I can’t fire, earth, water or air bend so I Gender Bend.”
– Gender, Sexuality, and Cosplay: A Case Study of Male-to-Female Crossplay by Rachel Leng []

What? no coverage of F2M crossplayers? [ Later: the Fandom Unbound anthology mentioned below has a section on cosplay that ventues some interesting ideas about crossovers between female cosplayers, sepc. those into F2M crossplay and rotten girls – must review soon ] The more important theme that emerges from the essay is the notion that the internal codes of cosplaying provide a space wherein a certain degree of gender-play can occur for straight guys without getting into any of the more problematic issues of sexuality or their fundamental gender expression. The author references the Japanese kabuki tradition and offers a few tentative speculations about “carnival”-esque spaces;

“In many ways, cosplay performances demonstrate a form of 2.5 dimensional space where the boundary between reality and fiction is transgressed (Saito, 2007). Within this space of potentiality, crossplay epitomizes how cosplayers find pleasure in straddling layers between the fictive and real worlds to explore the virtual potential of sexuality. M2F crossplay thus problematizes how people see themselves as female or male, or how maleness and femaleness are attributed to others, but at the same time, presents itself as a high art form that distills the essence of cosplay fandom. Ultimately, what this paper suggests is that we should think of crossplay as more than an entertainment medium, as more than a mere act of parody. M2F crossplay deserves critical attention as an individual‟s artistic expression of performative fan identity with broader meanings for human action in relation to gender and sexuality.”
– Leng, ibid

The Kabuki reference deserved more consideration, but of course, these are western cos/cross players being considered. A wider “theatricality” POV might lead to an expanded mode of analysis. One of the classic dismissals of Japanese fen yaoi/BL practice, including its prodigious secondary production output, is that it is “just girls playing with dolls“.

“…as Francesca Coppa (2006) pointed out, even engaging in a textual practice like fan fiction is more like directing a theatrical production than authoring a text, as these stories “direct bodies in space” using fans’ shared knowledge of a canon text’s “sets and wardrobes, of the actors’ bodies, smiles, and movements.”
– Bound princes and monogamy warnings: Harry Potter, slash, and queer performance in LiveJournal communities” by Darlene Hampton [ ]

The interests of the article’s author are clear and nailed to the mast, so a slight overload of queer theory rah-rah-rah is inevitable, (along with the usual later hedging of all bets by expanding the definition of “queer” so wide as to include everyone and everything but married Mormon missionaries) but the overall approach is interesting and could carry over to fannish secondary production (or transformative works, as the journal prefers) in general, including Japanese manifestations.

Right from the start, such an approach can pull a Captain Obvious and note that when a fan fic or dojin swipes a work’s characters, it almost always also swipes the scenery, location, background, setting and so forth. This matters, because it also can be messed with or left intact to heighten the feeling of appropriated authenticity. Another interesting tack comes from the performative nature of the anonymous creative interaction that develops as the work is group edited and discussed (perhaps less so in dojin production and more so in online fic editing) as well as in the presentation of individuals as actors within the online fan community.

4.44] Anonymous: Uh, there IS supposed to be a plot in here somewhere, right? Or is this just chapter after chapter of fucking? I mean, there’s nothing inherently wrong about chapter after chapter of fucking. It’s just that I thought somewhere in here there would be a plot, much like what would happen if J.K. wrote HBP differently…as, I may mention, it is advertized [sic] as such in the header text… This DID get an award of some kind. Makes me wonder if it wasn’t just a popularity contest instead. Think I might stop reading here, giving this a definite thumbs-down. (LJ, October 13, 2007)

[4.45] SP responds in kind:

[4.46] It is not usually my policy to reply to rudely-worded anonymous comments. Yet, I have decided to reply here to save the annoyance of other such folks in the future. First, the story is clearly labeled as “smut” and contains quite a lot of graphic sex scenes. I think, overall, that is about half the story. If these offend or bore you, please go elsewhere. No sense wasting your time or bothering us with complaints about the amount of sex in the story. (LJ, October 13, 2007)

Someone is going to get a PhD if they can drag Japanese theater practice into an analysis of dojinshi plotting and/or “stage-ing” (those Hato-ish mise-en-clench scenes) and production rituals. Given the strong feedback loops between producer and fan/consumer in CJVC and the everything-refers-to-everything-else trope call-out overloads (crit speak: intertextuality) swiping a few tools from theater theory might also provide new insights and help illuminate some aspects of the ecology of manga, anime and game etc production going on in Japan today. Or we can go back a bit in time. See further on in this post for the Sabu & Ichi anime revival, watch a few and enjoy the faux sume-e ink-work conceit.

Another way of looking at Our Fave Stuff is to look at what falls just a bit beyond the pale. I know that there are serious otaku and fujoshi who also obsess over live-action daytime J-dramas (or K-dramas) but some things like Idols or Visual Kei  are thought of as too low to warrant serious consideration. The otaku-y stuff is where you run to, to escape the idols, the Visual Kei, the Oricon J-Pop machine fodder and the rest of the sad, mechanistic sold-out, commodified, exploitative pap that the corporate media cloud in Japan pushes on a numbed populace.

Interesting then how one of the big names in otaku-ology has co-authored a study on Idols.

Idols and Celebrity in Japanese Media Culture”, has its intro chapter available for perusal, see: “Introduction: The Mirror of Idols and Celebrity” by Patrick W. Galbraith and Jason G. Karlin

Echoes of the debased miserable industry practices surrounding fully commodified mass culture artifacts popped up before, for instance in the masterful “Interview with an ex-Visual Kei record executive” at the Tokyo Damage Report blog  []  and the follow up: “visual kei fallout” post. []

Otaku as well as Fujoshi are considered social pariahs? More likely they are considered troublesome because they resist obeying and spending like proper regimented Japanese “fans”. Sure they blow their money on weird fetishistic junk, but they are nowhere near as sheep-like as “proper” fans. They are experts, connoisseurs, fickle as heck and prone to ripping the shit off and making their own fun light pr0n out of it too. More study of the Galbraith/ Karlin book is indicated (must find copy cheap) but I suspect that the amount of secondary production/ transformative (and appropriative “parody” work) that goes on over AKB48 pales in comparison to what rotten girls do to basketball manga.

After reading the above introductory chapter and the TDR post on Visual Kei the antics of the Genshiken gang seem mild-mannered.

And while I am dredging up theory-ish readings, I must note that the 2012
Fandom Unbound, Otaku Culture in a Connected World“, edited by Mizuko Ito, Daisuke Okabe and Izumi Tsuji, Yale University Press, 2012 [ ] finally found its way into my hot little mittens. This will probably need a post of two of its own, but looks fascinating, if only because English-language otaku-ology gets bubbled in by the un-availability of original Japanese research. I went hunting after it after reading a considered review by Dr. Nele Noppe in a recent TWC volume [] (see also her blog)

Read the intro here: [ ]

That’s enough theory-ness, time for some fun!

“Kobayashi lives alone in an apartment, until one day, Tooru appeared and they ended up living together. Tooru looks down on humans as inferior and foolish. But having been saved by Kobayashi-san, she does everything she can to repay the debt and help her with various things, although not everything goes according to plan. A mythical everyday life comedy about a hard-working office lady living with a dragon girl.”

Kobayashi-san Chi no Maid Dragon by Cool-Kyou-Sinnjya
The mangaka, :

This one is under the protection of the gods of small things:
maid dragon

Take your usual quirky freeloader harem set-up, remove the average guy and sub in a harried woman engineer/ tech worker.  Like the guy lead she replaces she is a closet otaku; her only fun is talking about maids and loli charas with a buddy from work and getting pissed out of her gourd after work on weekends.  If she ever had a sexuality it is dormant. Her coworkers consider her an honorary male. She dresses like any other techie in the IT department.  Then a dragon gets a crush on her and moves in. The dragon can shape shift to almost-human female form so the freeloader ends up dressing as a maid, with an occasional alligator-ish tail hanging out behind her. Cooking and cleaning gags ensue. Not a lot of service; even after a few more shape-shifting female supernatural critters begin to sniff around at Kobayashi-san. The “now I’ll wash your back” joke is about as steamy as it gets and is really sweet. This isn’t after-thought yuri; it is more like after-thought josei-dragon-ai, but goes on to prove that you can just do a teeny bit of genderswap and make a tired old cliché fresh again.

Mono no aware:

“The series follows the adventures of Sabu, a young Edo bakufu investigator traveling with the blind master swordsman Ichi. In their travels, they assist the common people in solving mysteries and righting wrongs (usually committed by bandits or corrupt officials). Sabu is engaged to Midori, the daughter of his boss, who works as a police officer for the Tokugawa shogunate.”

Forty five years later, it still holds up. Someone grabbed the DVD re-issue of the episodes and now it is being fan-subbed and made available “by fans and for fans” . Sabu to Ichi Torimono Hikae / Sabu & Ichi’s Arrest Warrant / 佐武と市捕物控 originally aired from Oct 3, 1968 to Sep 24, 1969. As with the famous manga that it was based upon, the attraction lies in the way the mangaka and the anime studio adapted edo era graphic conceits to 1960’s printing and animation constraints. The manga was always known for its intricate scenery panels. The anime uses a lot of ink-wash tricks and still-action staging, which was a real neat way of keeping production costs in check while pumping the “edo” atmosphere to 11. Even though the anime is in 4:3 and black and white, the grim life is hard and fleeting mood of the manga, as well as some of the bloody and violent true crime sensationalism and Gekiga  social commentary impulses come through.

How to adapt and how not to adapt:

Jitsu wa Watashi wa []
has been turned into an anime and is up on Crunchyroll as “Actually, I Am

I am surprised; the animators did not butcher it. There is a bit more fanservice and rude hijinks, but it stays close to the good-heartedness of the orignal. The main character’s male friends get a bit more screen time then in the manga. The OP and ED music is meh, but I liek it!

What a cute couple!

Over at certain “less official” anime streaming sites, the anime adaptation of Gate – Jietai Kare no Chi nite, Kaku Tatakeri is into five episodes and it is disappointing on so many levels. The manga isn’t afraid to stick its neo-colonialist, military fan-boy snout into the gore trough, as well as raiding the otaku prop and character cabinet. The anime, by contrast is half-assed even about this.

Plus they got rid of/ completely changed and moe-fied the tough female soldier in Itami’s brigade. I don’t like what they did to Loli Mercury’s chara design either.

Bleh! Fail!

I’ll still watch it, I have no critical faculties left and it is hot outside.

Or I’ll watch this

Super Poi Hyadain 1 HOUR VERSION

What the ?????