On heroes and hero worship

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

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

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

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

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

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

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

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

With the lights off, it’s less dangerous…

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

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

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

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

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

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

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

Low res is best res

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

Oh no I said a dirty word…

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

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

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

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

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

It’s fun to lose and to pretend…

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

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

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

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

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

Falling for an avatar

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

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

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

The boy only falls for girl heroes.

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

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

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

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

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

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

She’s overboard, she’s self-assured…

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

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

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

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

In the end there is no such thing as leadership…

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

And now for my next trick..

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

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

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

She displays an internal “moral” code.

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

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

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

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

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

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

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

Mada wants!

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

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

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

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

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

I’m worse at what I do best…

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

Is this some new form of manzai?

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

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

And comedy of fail is maintained.

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

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

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

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

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

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

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

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

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

All right, God damn you! I challenge you,

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

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

I give you a wall table at Comiket !!!

That would be overdoing it even for the Genshiken…

I feel stupid and contagious…

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

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

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

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

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

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

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

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

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

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

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

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

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

What of Keiko?

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

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

What of the rest of the Genshiken girls?

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

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

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

Ritsuko Kübel Kettenkrad-sama watches over us

Ritsuko Kübel Kettenkrad-sama watches over us

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

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

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

And then we would have room for some new characters.

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

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

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2 thoughts on “On heroes and hero worship

  1. Pingback: Destroy everything you touch | HEARTS OF FURIOUS FANCIES

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