Warning: plenty of gender role issues and stereotypes are going to be tossed around herein, and some may be handled clumsily in the course of inquiry and exposition. I’m reaching here – cut me a bit of slack…
In chapter 102 of Genshiken Madarame has finally ended up at Keiko’s hostess club and is drowning his confusion in expensive drinks, courtesy of salaryman Kugayama’s (AKA Kugapii) who thinks that what Mada needs is some conventional gender-role’d interaction with women.
Should have tried it this way
While the earlier idea of visiting a soap-land and “losing it” was discarded for something a bit less frightening, there is a strong undercurrent in the previous chapter of Kugapii seeking to fix Madarame’s distress by expanding his horizons in societally approved directions (Kugapii is also looking for a wing-man in his own forays into barely know territories). Madarame’s confusion and discomfort at finding himself happy with Hato-as-chan’s attentions; receiving Hato-chan’s valentines day chocolate; his revisiting of his josou game collection and his attendant male hysteria is all but announced as being the exclusive result of him being only exposed to the feminine through his interactions with the atypical Genshiken females. After Saki, it is all just much-younger rotten girls and one closeted cross dressing boy. Time for some “real” female interaction.
Keiko does not disappoint: Starting off as a proper hostess, she quickly drops her act and becomes the Keiko we all know and lurv, fully entitled to her personal judgements (honne entitled?) about Madarame and exasperated at him. Mada gets an earful and is relegated back to her fave “watermelon-boy “Wantanabe” status. (cue the beach scene – what happens to watermelons at the beach?) But the best part of Keiko’s rant is a full-page (plus a half-page wind-down) blast at Hato:
So… Keiko is a transphobe? Or is this personal?
Before that, consider Keiko the hostess: At one extreme, solicitous and friendly. At another extreme, into direct personal scolding mode – so much so that her co-worker calls her on it. And then a few minutes later, subservient in her job-role; she cannot leave since she was specifically requested, nor politely (pull the other one – this must be a point-of-work-pride thing: the mark buys the drink without being asked) ask Mada to buy a round. Figure that the night’s festivities can easily run well over $500. Dude, you OWE Kugapii big time!
Why she invites Madarame back to her place after all this is a whole ‘nuther thing to be left for Chapter 103…
Aside from the fun possibility that Keiko is being re-written in as the villainous woman trope from a yaoi grinder, why would she “Irae Babylon! Mighty is thy Judgement!”? It makes her look like a bully, or at least someone loading up the howitzer to deal with a fly. As well she tries to make it clear; she cannot condemn Mada if he wishes to go off and find some man-love, but Hato (chan or kun?) is personally suspect and nothing but trouble – he has already done inconsiderate things to Madarame and can be expected to do more and worse.
What things? Where has she gleaned her information from?
Kio Shimoku has just expanded the field strength of his reality-is-reality Vs fantasy-is-fantasy motif, and he is edging into the territory of IRL controversies. After all, Hato-as-chan manifests only in the safe space of the Genshiken social, where Hato has gradually been elevated to VIP member and object of interest by the
real (gotta use the polite academic term) cis-females therein. Whenever her fugue states and over-rotten episodes have caused fallout, Hato has been supported by the rotten girls, even as they occasionally essentialise him as a perverted freak behind his back (no, it is not Hato’s buttplug, it is part of Ohno’s costume). But now Hato has cranked Hato-chan up to 11, she is courting Madarame, visiting him, cooking for him and going full metal nadeshiko in his direction. Something about all this has set Keiko off, even to the extent of considering Madarame’s behaviour with Hato as being an injury to Saki.
How could that be?
A polite and nuanced explanation that gives Keiko the benefit of the doubt would be that the fallout from Hato’s frustrating can’t decide liminality dance makes him a danger to himself/herself and others, but she doesn’t really have enough knowledge of the fine details of the Hato saga to pull that off. She is going by gut impression and what she knows and has previously frowned at: (in her view) a self-serving ego gratifying indecisiveness, a glimpse of Hato-chan getting much to close to Madarame during the neck-fugue state episode and her sudden enlistment into the harem competition. The combination carries a strong whiff of jealousy and bigotry.
Getting bested by Angela or even Sue would be bad enough.
Is that the only reason why Keiko considers Hato not just “fake”, but dangerously- defective- as- a- human- being fake?
This sure looks like old-school canon transphobia, springing from the same sources as the derogatory term “trap”, and still a rather heavy bone of contention even within the gender-politics community, even if internal politics has shifted the goalposts a bit over the last 40 years. We humans like our “others” in neatly defined categories and boxes, and sometimes the violation of these categories can provoke a visceral, irrational disgust and over-the-top hate-on, especially when the category violation threatens the boundaries of our own chosen categories. Check your privilege time perhaps… or something closer to the sleep of reason and the monsters that wait beyond it. Checking privilege does little to de-fuse pure post-Lacanian psychobabble horror and that horror is regrettably very real. We need better tools to deal with it.
Amazingly, IRL culture wars surrounding this effect are spilling over into the popular media and even into the manga/anime blog- verse. And there are a lot of raw, exposed nerves on all sides of the arguments. If a few select articles in Slate and other publications are to be relied on, it seems that a small subset of trans-folk, who have worked hard to become the sex that they feel that they are, despite the body dealt to them at birth are viscerally cheesed off with the vulgar, lower-class, commercial behaviour of the drag demi- monde. Bricks are flying back and forth. Meanwhile some folks take the Judith Butler “presentation” paradigm as a gospel of liberation, while others feel that it is a deep insult; “I am not presenting as, I am!”
Bleh(!) say others, transgression as an art form is a good way to shake up fascist hegemonies (you fascist…).
Well, at least some of them…
A few years ago I would have been scared spit-less to read about any of this stuff, and I am probably pissing off some folks by this clumsy vicarious little excursion into an area of personal politics that all sides hold very close to their core sense of being.
Why can’t everyone just get along?
Because why everyone can’t get along is the core of the problem.
Fictional representations in JVC tropes (and global pop cultures in general) only serve to further muddy the waters; the transgendered vs the trap vs the otokonoko vs the drag queen vs the might be gay – might not, might be trans, might not female impersonator vs the josou game’s better than female charas all serve as imperfect fun-house mirrors to bitterly contested spaces in the 3D ‘verse. And then they upend the problem by encouraging folks to go on little what-if excursions. They are only cartoon characters, right?
“”The culture surrounding “passing” is problematic as it classifies people who don’t or don’t want to fit into two narrow, relatively stagnant categories of male or female as problems themselves while simultaneously discrediting the “authenticity” of people who do have passing privilege. There is no way to win. A person who is not deemed masculine or feminine “enough” is ridiculed and reviled for not having correct body language; for lacking or for possessing body hair in “right” or “wrong” places; for not having hips or chests that are the “correct” shape; for being too tall or short, too broad or too slight; for not having one’s makeup or wig look “right” and so on.
Yet the corollary is that a person who does pass, who looks close enough to “socially acceptable” standards for femininity or masculinity is considered a “trap” or dishonest, which can also lead to that person being outed and attempts to harm or humiliate upon “discovery.” Some times even safe spaces are not entirely safe, as gender policing can also be a problem within the queer community.””
Gender policing eh? Sounds nasty:
Perhaps it is time to pull a Schultz…
“I know nothing, I see nothing…”
Later: Ok, It’s not that big of a deal; the minor fights at the edges of the great project of asserting the rights of all people have been going on for ages. See: http://www.slate.com/blogs/xx_factor/2014/08/06/the_new_york_post_says_feminism_is_imploding_is_wrong.html
See also for this really neato pre-internet archeology article on AOL and FIDONET and early gay BBS forum activities (wow! Fidonet! that takes me back, never knew…) Looks like folks have been arguing this one for decades
” That policy prompted the Great Trans Debates and the Great Bi Debates every six months or so,” Goodloe recalls, “as everyone weighed in with their opinions of who counted as a ‘woman’ and whether bisexuals should be allowed in ‘lesbian only’ space.” –http://www.slate.com/articles/technology/bitwise/2014/08/lgbtq_nerds_and_the_evolution_of_life_online.single.html
Lookie at the new neighbourhood Kio Shimoku has written himself into.
Nawww, that is all just gaijin weirdness, they make a lot of noise, don’t they?
Come the revolution everyone will walk around wearing a biographical sandwich board stating their personal preferences and outlooks, as well as their personal histories and how they legitimately and authentically arrived at them, at least until we all wear Google Glass. Or perhaps as one really odd sci-fi writer has suggested we will all wear elaborate facial makeup markings to indicate what we feel like being TODAY.
Anything else is the salt-monster from Star Trek or its direct ancestor; CL Moore’s Shambleau
Read it yourself and tell me it ain’t ‘nuthin more than medusa repackaged… https://archive.org/details/Shambleau19331948
A more reasonable alternative is the path of inclusivety, and a sensitive politically correct essayist should keep an eye on the best practices in the field to add letters as needed.
“LGBT: Abbreviation for Lesbian, Gay, Bisexual, and Transgender. An umbrella term that is used to refer to the community as a whole. Our center uses LGBTQIA to intentionally include and visibilize the Queer, Intersex and Asexual communities under our umbrella.” — http://lgbcenter.ucdavis.edu/lgbt-education/words-that-are-transphobic-and-why
Well, that sounds like a more reasonable approach, I hope it works out…
So… Hato is not indecisive or liminal or even suffering from gender-panic induced dissociative personality disorder: the Hatos are genderqueer (stuff your categories, we know what we like!) and since the Hato continuum is still a virgin in 2,5D land, despite having consumed two metric shit-tonnes of distaff pr0n, they are somewhat in the same space as Watamote’s anti-heroine Kuroki Tomoko.
Perhaps Keiko is simply pissed off at Tomoko-ish behaviour in Hato.
Living up to societal sex/ gender role ideals is hard for everyone. Hence the appeal of virtual/ fictional vacation tour packages at greatly reduced rates.. One essayist suggests another take on rotten-girl desire:
“For many girls, the pretty, but unmade-up boys of manga and anime are in fact far more like themselves than the huge busted, bombshell women that are both likely to inhabit anime [and] manga designed for men and boys, and that are a regular part of our western media viewing experience.
Blogger Kerryg (2009), writes about the mere possibility of the female gaze in her Hub entry, ―The Female Gaze. She argues that of course a female gaze exists, but is only beginning to appear in explicit ways (in the work of women filmmakers, such as Sophia Coppola). ―However, she suggests, ―it is much more common for women and girls to subvert the intended gaze of media than to create their own Gaze. For many, this is an unconscious process; for others, it is knowingly revolutionary‖ (2009). She cites the work of fangirls as evidence of this move, offering that they are “Re-cutting the world to match their eyes”.
– Bringing Smexy Back: Fangirl Production, AMVs, and Transgressive Sexuality, Elizabeth Birmingham – http://fansconf.a-kon.com/dRuZ33A/wp-content/uploads/2013/04/Bringing-Smexy-Back-by-Elizabeth-Birmingham.pdf
(The referenced Kerryg essay can be found here: http://kerryg.hubpages.com/hub/The-Female-Gaze)
Which leads to a further weird digression:
I must take back any dismissive asides previously made in the direction of Ouran Host Club, thanks to the elegant exposition at: http://gaggingonsexism.wordpress.com/2012/09/02/what-i-love-about-haruhi-fujioka/
(the earlier cited paper on it didn’t work for me – too much blah blah, the 3rd party Mizoguchi mis-attribution made the BZZZZZT – Wrong alarm go off and the conflation of Japanese dojinshi parody with western gay male camp is strained. The author would have gained more traction by using a compare and contrast parallel evolution approach. Finally the analysis ignores the centrality of the Haruhi character.)
What an interesting thing; even if it does go on, and on, and on…
The manga is clearly aimed at giving its (presumed) young female readership a lot of eye-candy and some rotten-girl-lite titillation, but it also solves the problem of the female gaze by inserting into the story an androgynous heroine who is unconcerned with her or anyone else’s outward gender presentation. As the series goes on, stereotypes of gender presentation and playful transgression are heaped willy-nilly one on top of another and all Haruhi can do is sigh with mild annoyance and occasionally puncture ego balloons with deadpan snark. And while the boys get weirder and weirder in search of the ultimate host club experience for their “typical” female clientage, they also begin to fixate on her – especially by trying to get her to act as a properly feminine girl during her off-hours.
Meanwhile she gets to (at first reluctantly) enjoy being part of an over-the-top band of guys – what academia charmingly refers to as a “homosocial”. The only whiff of nastiness comes during reoccurring episodes of class-war snobbery and when a central casting nasty lesbian separatist club (who watches over us again???) from a nearby girl’s school decides she could be a perfect Bifauxnen and tries to steal her away from her oddball social club. Tsk tsk! Thou shalt not use “lesbian” as a pejorative, to do so is insensitive and low-class! Sensible, polite and serious Haruhi gets 2 points on the set-up.
Not quite an obverse of Hato, but close enough for 3-chord rock and roll.
Except that even such a manga-verse comparison can be fraught with complications. The word-of-the-day is transmisogyny, and is best illustrated by the following exposition on Wandering Son: (note that pronoun usage follows presentation and Deemed X At Birth acronymage is used)
“In junior high school, Takatsuki and Nitori meet Sarashina Chizuru, a cis-identified girl who just enjoys wearing a boy’s uniform because she feels like it fits with her cool persona. She turns up to school a few times in it and also tends to wear non-regulation ties with her girls’ uniform. Sarashina’s blatant disregard for the rules gives Takatsuki courage to wear the boys’ uniform that was given to him by Yuki, a transwoman who acts as mentor and confidant to Takatsuki and Sarashina. (In the manga, the uniforms belonged to Takatsuki’s older brother and sister.)
When Takatsuki wears a boys’ uniform to school, everyone thinks that he is cool and edgy like Sarashina. Part of this fairly positive reaction stems from his peers are viewing Takatsuki as a tomboy engaging in temporary cross-dressing instead of a transgender boy trying to dress toward how he wants to be perceived. Although the administration is annoyed with Takatsuki for breaking the dress code, the other students’ misreading of Takatsuki’s actions as fun and temporary largely protect him from transphobic reactions, although their reaction causes a sense of discomfort for him, as it plays upon the disconnect between how one sees their own gender presentation and how others see them. This discomfort also occurs earlier in the manga when Takatsuki gets his first period and is teased by the other boys because it “proves” that he’s “really a girl.”
Like Takatsuki with his androgynous clothes and binder, Nitori also wears clothes that make her comfortable in her gender expression in her free time. Outside of school, she wears a long wig and skirts at home with friends in public in disguise, often with Takatsuki, and is delighted when she “passes” (more on this later). Her success in passing in public, her friends’ admiration of how good she looks in girls’ clothes, and Takatsuki’s wearing of a boy’s uniform at school leads Nitori to follow Takatsuki’s example and to come to school in her girl’s uniform. However, Nitori is immediately recognized by the teachers and then mocked mercilessly by her peers. She is sent to the school nurse and then sent home from school. In the anime version, the characters sometimes talk to the camera, and after this incident, they discuss how differently everyone reacted to Nitori’s and Takatsuki’s perceived cross-dressing, noting that girls’ fashion offers more options for gender expression in clothing, and that Takatsuki’s interest in androgynous and masculine clothes is treated as more normal than Nitori’s interest in feminine wear. Few anime are this deliberate about how the masculine is prioritized and deemed culturally cool but the feminine is reviled, and how DMAB people who embrace culturally feminine clothing and pursuits often face greater social consequences, from ridicule to violence.”
Back to why exactly is Keiko so pissed off at Hato? Are we back in the old days of a trans-gendered individual who seeks to realize their subjective gender racking up more authenticity points than a cross-dresser, who is a “mere tourist or hobbyist”? Is it the old cant that passing imposes a certain burden upon forthright behaviour for individuals during transition (which is even more insulting than the “trap” acusation). Or is it a Japanese don’t rock the boat thing? Is Hato’s gender-switching suspect only because it disturbed the wa and breaches honne? Can a Westerner ever even begin to understand all of the baggage contained in her outburst?
To paraphrase Master Sorceror Sean O’Lochlainn
“Magic is a matter of symbolism and intent.”
We can only guess at either. Confused yet?
Or… I am just using this Genshiken mise-en-scene as an excuse for a quick n nasty survey of the common arguments surrounding the gender politics of trans* characters. Pay no attention to the blogger behind the curtain.
Other stuff of note happened upon of late…
How the Philippines does rotten girl:
Appropriating Yaoi and Boys Love in the Philippines, Conflict, Resistance and Imaginations Through and Beyond Japan – Tricia Abigail Santos Fermin, Osaka University, Volume 13, Issue 3 (Article 13 in 2013). First published in ejcjs on 6 October 2013. http://www.japanesestudies.org.uk/ejcjs/vol13/iss3/fermin.html
“My research largely confirms the point McLelland made in his comparison of Japanese and English-language yaoi and BL websites: we will witness many groups of women around the world sharing similar sexual fantasies, yet the rhetorical space they occupy in their transgressions could never be more different.”
Has a very big section on Genshiken, Ogiue and Hato and yup, I like the mirror conceit too:
The Great Mirror of Fandom: Reflections of (and on) Otaku and Fujoshi in Anime and Manga by Clarissa Graffeo, MA English Thesis, 2014
Incidentally a fine usage guide for tyro translators:
Hey, you’re a girl?: Gendered expressions in the popular anime, Cowboy Bebop – Mie Hiramoto http://profile.nus.edu.sg/fass/ellmh/Hiramoto_2013_Hey%20youre%20a%20girl.pdf
The Genshiken girls (and Hato) are written as reading this stuff? Warning – NSFW images, purple prose and rape fiction apologia/ triggers:
Yaoi is destroying Japanese families. Warning – cum hoc ergo propter hoc fallacies, errant bullshit and possible trolling:
Get rich at Comiket?
“”Lost 50000 yen or more (lost $638-more): male 14%, female 16%
Lost between 0 and 50000 yen (lost $0-$638): male 53%, female 50%
Earned between 0 and 50000 yen (earned $0-$638): male 15%, female 17%
Earned between 50000 and 200000 yen (earned $638-$2553): male 8%, female 10%
Earned more than 200000 yen (earned $2553-more): male 10%, female 6%
the circles who lose money are clearly in the majority, with 67% (male) and 66% (female) in the red. Earnings of less than 50000 yen are probably negligible in a lot of cases: this would barely cover transportation and hotel costs for a circle that has to come from outside of Tokyo.”
Stop writing to Margaret mangakas before release date, or send a pic of you holding the mag, bought in NY:
Heavy Fujoshi studies of the year bibliography:
Annual Bibliography of Anime and Manga Studies, 2013 Ed.
Another fan studies resource:
Good news on the guy front; The kids are all right. All that pre-judging is just us old baby boomers’ violent expectations.
I was beginning to fear that the rather expensive Routledge anthology PERVERSION AND MODERN JAPAN addressed neither when at last I hit upon “Packaging desires: The unmentionables of Japanese film” by Jonathan Abel. Yup, it’s all about PANTSU in soft-core Japanese porno films, and its a rollicking great hoot of a theory-moe ride – which is to be expected of a paper that grew out of a joke presentation titled “Die Zizek, Die!”
Sooner or later I must review the whole thing here. Abel is the translator of Azuma’s Database etc., while Nina Cornyetz and J. Keith Vincent (translator of Tamaki’s BFG) as editors are both very agreeable reads in their own rights. It is just that collection is a bit of a slog unless you are really, really into post-Lacanian detritus and its use in critical writings on Japanese cultural stuff.
…And you manage (as I do) to find some of it amusing.