Attack of the Love Dalek schmex fail

Incredibly drawn out ruminations and highly subjective digressions over manga naughty bits below the cut. How can it be boring if it is about sex and pr0n?

.

“I’ll save you the trouble of reading the full list but it generally boiled down to “rub her clitoris while kissing her and touching her breasts,” to the point where I was saying this phrase like a robot, but whenever I try to channel a robot, I sound like a Dalek. I encourage you to imagine this.”

–Pumpkin Spice Sex Tips from Hell, by LM, The Lobster Dance 2015/10/23 (blog)
http://odorunara.com/2015/10/23/feminist-halloween-day-23-sexy-pumpkin-spice/

THANK YOU! I did, I feel vaguely uneasy, but curiously interested. It opened a whole new world for me. Whenever I feel stick-in-the-mud I go read some of the posts at The Lobster Dance.

Un refresco san egal!

“Exterminnnnnn.. No! Wai-ait!”

Continue reading

Advertisements

A question!

Go do a survey…

The Views On Fandom Project
https://aber.onlinesurveys.ac.uk/viewsonfandom/

“A question. Since before your sun burned hot in space and before your race was born, I have awaited a question.”
SPOCK: Really? 
KIRK: Annoyed, Spock?

If we are interested in this stuff, we should consider helping out when it gets studied. A grad student in the UK is carrying out a study of fandoms. From the questions, the study leans towards Western slashy interests, but whottheheck and for all I know, some of you, dear readers may be into;

  1. BBC’s Sherlock
  2. Avengers related films from the Marvel’s Cinematic Universe
  3. The anime Attack on Titan

too!

Hey! waitasec! This is a great op to post some cross-over fan-art I found while lurking various pits of depravity:

kuchi titan1

 

kuchi titan2

kuchi titan3

 

If you get this, you are already wayyyyyyyyy too far down the rabbit-hole to back out.

The survey is short, easy to complete and has room for you to fan out if so inclined. Quite painless.

Myself, I want to eventually get an online survey hooked up to this mighty engine of gibberish to gather data for my upcoming: “Deluzian excess, Perversion & Death in contemporary Japanese Künstlerlustmordtrauergeratroman: Evangelion“. (working title)

…Which will be either a peer-reviewed paper, a theme party at a local bar or a fail-core noise-rock opera.

So much to do, must get organised.

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 concepts 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.

 

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 ex-assistant; Combat Butler ???) 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.

snapshot20150930233001

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 https://en.wikipedia.org/wiki/Princess_Jellyfish); 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.

you-sure-you-not-cap-copy

Of course it had to be Hato. The minute Shinobu 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 should have been Shinobu;

Please don’t bother trying 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.

snapshot20150930233303

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”

snapshot20150930233330

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.

snapshot20150930233729

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

snapshot20150930233858

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
http://ubt.opus.hbz-nrw.de/volltexte/2015/944/pdf/Maser_Beautiful_and_Innocent.pdf

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 http://www.yuricon.com/essays/ 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:
http://ubt.opus.hbz-nrw.de/volltexte/2015/944/pdf/Maser_Beautiful_and_Innocent.pdf

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 expectations 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…

Bleh!

from the wiki https://en.wikipedia.org/wiki/Nobuko_Yoshiya

“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 poignant 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)

“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 [https://en.wikipedia.org/wiki/Kazushige_Ugaki], per Borovitz, The Discourse on “Love Between Men” in Interwar Japan: Iwata’s History of Homosexuality  http://onetwothree.net/writing/discourse-%E2%80%9Clove-between-men%E2%80%9D-interwar-japan-iwata%E2%80%99s-history-homo

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. Shoujo 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.
http://www.hoodedutilitarian.com/2011/04/overthinking-things-04032011/

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.

-STAR--Kannazuki-no-Miko-Review-with-MOOT-e10982160

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.” (https://en.wikipedia.org/wiki/Nobuko_Yoshiya)

OR

“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
eighteen.””

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 ending (d)Hope for a better world (e)Tourism (f)Postmodern consumption of an aesthetic (h)Comfortably familiar (i) A spectre is haunting Japanese queerdom (j)Masturbation aid (k)Sex manual and (l) perhaps a few others. Please select all that apply.

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.

And

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

And

“”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 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 has been corrupted by outlander ways. Also, as a cosplay guru, 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.

snapshot20150930233207

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.

Unless…

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 [http://tvtropes.org/pmwiki/pmwiki.php/Main/BetaCouple] 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 a 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 meant 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 do 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. Sure they walk off hand in hand into the sunset, then what? 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? Perhaps the fujoshi entertain similar questions about how to deal with a guy on a long-term basis? Oh shit, these are all just fantasy stories anyway,  they offer nothing but unrealistic longings 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. https://en.wikipedia.org/wiki/Otaku_no_Musume-san

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 gently 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
http://www.japanesestudies.org.uk/articles/2010/Nagaike.html

Finding the Power of the Erotic in Japanese Yuri Manga
by Sarah Thea Arruda Wellington,
MA Thesis, University of British Columbia (Vancouver) August 2015
https://circle.ubc.ca/bitstream/handle/2429/54589/ubc_2015_september_wellington_sarah.pdf

The Female Gaze in Contemporary Japanese Literature
Kathryn Hemmann PhD Dissertation, University of Pennsylvania 2013
http://repository.upenn.edu/cgi/viewcontent.cgi?article=1920&context=edissertations

More about BL, some yuri, follow on the above:
Queering the media mix: The Female Gaze in Japanese Fan Comics
by Kathryn Hemmann
http://journal.transformativeworks.org/index.php/twc/article/view/628/540

Telling Her Story: Narrating a Japanese Lesbian Community
by James Welker
http://www.dijtokyo.org/doc/dij-jb16-welker.pdf

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.
http://intersections.anu.edu.au/issue7/chalmers.html

2006-02-13-trouble_in_memphis detail

ENDNOTES:

(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
http://japaneselit.net/2011/05/13/rape-in-yaoi/

See also Nagaike, https://circle.ubc.ca/handle/2429/16962

(2) Queering the media mix: The female gaze in Japanese fan comics
by Kathryn Hemmann
http://journal.transformativeworks.org/index.php/twc/article/view/628/540

“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
http://neojaponisme.com/2009/06/04/everybodys-fujoshi-girlfriend/

(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
http://journal.transformativeworks.org/index.php/twc/article/view/321/311

(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?

One minor insight can be gleaned from the relentless unhappy tone of the Hanamonogatari stories; (and Erica-sensei’s caveat that serious Japanese romance tales lean towards tragic endings; serious=tragic remains in force) the endless serial bummer parade goes a long way towards explaining why Anne of Green Gables is so popular among young women in Japan. Nobody gets destroyed/ killed/ fridged!

(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
https://circle.ubc.ca/bitstream/handle/2429/54589/ubc_2015_september_wellington_sarah.pdf

“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, Shinobu 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.
https://en.wikipedia.org/wiki/Whispered_Words

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.
https://en.wikipedia.org/wiki/Sweet_Blue_Flowers

(10) Impersonating and performing queer sexuality
in the cosplay zone by Katrien Jacobs, The Chinese University, Hong Kong
http://www.participations.org/Volume%2010/Issue%202/3.pdf

(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)
http://imrc.jp/images/upload/lecture/data/169-175chap11Ito20101224.pdf

(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
http://www.dijtokyo.org/articles/JS21_oda.pdf

(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.

Return the gift

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

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

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

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

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

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

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

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

Gay-baiting?

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

Ship and ship again!

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

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

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

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

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

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

They know very well that you exist.

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

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

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

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

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

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

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

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

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

Don’t let this bullshit kill what you love.

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

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

and righteousness like a mighty stream…

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

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

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

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

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

Oh K-rist must stop now…

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

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

Well done and well done!

Thank you John Chu.

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

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

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

Random Endnotes:

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

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

Everything that rises must converge

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

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

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

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

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

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

Set the Way-back Sherman…

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

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

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

otokonoko argument on 4chn web600

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

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

or per TV tropes:

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

You sure ’bout that?

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

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

Depsair broken scanlate fail c8p13 web600

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

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

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

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

Don’t call me daughter…

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

Job confronts_fudanshismch2.11 web600

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A Confederacy of Dunces…

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

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

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

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

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

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

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

Houston we have double box-office!

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

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

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

Welcome to the desert of the real

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

Sin+Copyright fujoshi_rumi c47p66 web600

Or both.
And of course there will be consequences…

Why Hato: build up logically

Wherein I go overboard, summing up the arguments in favour of Hato, and the odd plot contrivances that surround the character. Updated a bit after the anime’s ep 12 retcon. I think it’s finally finished, please enjoy!

Judging from comments on other blogs that cover Genshiken, both as manga series, and the new Nadaime anime, our favourite rotten boy character Hato is becoming a bit of an annoyance to some of the fandom. This is not only regrettable; it misses the point by a country mile. Back when I started this blog, part of the reason I did so was because of the story-telling/ plotting potential of this strange Hato creature set loose amidst the new fujoshi-filled Genshiken.

Didn’t I start here?

Insanely long fan-out continues below the cutline, you have been warned…
Continue reading

Fairest of the fair

On Makoto Shinkai’s Hoshi No Koe, and Saito Tamaki’s Beautiful Fighting Girl

hoshi no koe - 004

Few anime have sized my imagination and remained as resonant in memory as the short 2002 OVA Hoshi no Koe, known in english as Voices of a Distant Star. A decade after I first got my hands on a lovingly transcoded and fansubbed grey version of it, I remain a gushing a fanboy whenever I remember its charms and search it out on the web to watch it one more time. For those of you who missed it, I will steal liberally from the wiki entry (http://en.wikipedia.org/wiki/Voices_of_a_Distant_Star), editing and re-arranging the page synopsis for emphasis and clarity:

“Voices of a Distant Star (ほしのこえ Hoshi no Koe?, lit. “Voices of a Star”) is a Japanese anime OVA by Makoto Shinkai. It chronicles a long-distance relationship between two close junior high-school friends who communicate by sending emails via their mobile phones across interstellar space. It was originally released to DVD on 2 February 2002

The narrative begins in 2047. A middle-school girl named Mikako Nagamine is apparently alone in a hauntingly empty city, trying to contact people through her cell phone. She finally says, in an empty classroom with stacked chairs, “Noboru? I’m going home, okay?”, a rhetorical question which is answered with a busy line on her cell phone. She then wakes up to discover that she is in her “Tracer”; a heavily armed “mecha” orbiting Agartha, the (fictional) fourth planet of the Sirius System and begins her descent to the planet Agartha.

hoshi no koe voices2

A flashback gives us the beginning of her travels. Mikako was recruited to the UN Space Army in a war against a group of aliens called the Tarsians, named after the Martian region (Tharsis) where they were first encountered.
The narrative hints that the aliens were friendly at first and then suddenly slaughtered the earth colonists on Mars and left the planet. Humans have salvaged their technology and are determined to track them down.
Mikako, selected as an exemplary student has been drafted or has volunteered for the Space Army and must break the news to her childhood friend Noboru Terao, then undergo mecha pilot training on Mars. Mikako pilots a Tracer, a giant , heavily armed robotic “mecha” as part of a fighting squadron attached to the spacecraft carrier Lysithea.

When the Lysithea leaves Earth to search for the Tarsians, Noboru is left behind. The two continue to communicate across interplanetary, and eventually interstellar space via the email facilities on their mobile phones. On the edge of the Solar System, the fleet meets a swarm of Tarsian vessels and Mikako’s Tracer must confront a curious alien pod-ship that attempts to examine her Tracer, capture her and/ or kill her. As Mikako destroys the alien pod, the fleet scrambles to evacuate to the Sirius planetary system via a space-warp. As the Lysithea travels deeper into space, the emails take increasingly longer to reach Noboru on Earth, and the time-lag of their correspondence eventually spans years.

In the middle of the anime proper, she sends an email to Noboru (which shows the date 2047-09-16), with the subject “I am here”, saying “to the 24-year old Noboru, from the 15-year old Mikako” which will reach him 8 years, 224 days and 18 hours later.

Hoshi no koe on Agartha

On a seemingly empty, earth-like Agartha, Mikako must once again confront a lone alien; apparently telepathic, it presents itself to her in a hallucination as a lookalike younger version of herself. While “speaking” the alien “her” morphs into a Tarsian and then into an older version of herself. The same room where she woke up in the beginning of the animation is presented again, with the same ambience, but this time she is squatting in the corner, sobbing and pleading with her doppelgänger to let her see Noboru just one more time to be able to say “I love you” to him. The other being says “It will be all right. You will see him again”. The alien also makes vague promises of humanity’s growth in understanding.

The ship’s alarm interrupts the exchange, warning her in its characteristic overdone female british accent that “Tarsians are existing everywhere on Agartha!”. Mikako cries even more, yelling “I don’t understand!”, but her training kicks in and she avoids a ground blast and has to engage the Tarsian pod-ships in close combat. A climactic space battle ensues.

Meanwhile, back on Earth, Noboru receives the message, albeit almost 9 years in the future. A voice-over dialogue commences between the two of them which functions as a synchronous soliloquy on the same subject.

Back in orbit around Agartha, three of the four carriers have been destroyed by suicide attacks by Tarsian motherships. The Lysithea remains intact and Mikako, once roused to battle is a formidable fighter. She leads a breakthrough past the defending Tarsian pod-ships and destroys the last remaining Tarsian mother ship. After winning the battle, Mikako in her damaged Tracer drifts in space.

The manga version has a 16 years old Mikako send a message to 25 years old Noboru, telling him that she loves him. By this time Noboru has joined the UN, who have launched a rescue mission for the Lysithea. When Mikako hears the news from her crew mate that UN is sending help for their rescue, she consults a list of people on the mission, Noboru being one of them. She ends by saying that they will definitely meet again.

Voices of a Distant Star was written, directed, animated and produced entirely by Makoto Shinkai on his Power Mac G4. Makoto and his wife, Miko provided the voice acting for the working dub (A second Japanese dub was later created for the DVD release with professional voice actors). Makoto’s musician friend Tenmon, who had worked with Makoto at his video game company, provided the soundtrack. Shinkai cited Dracula and Laputa as inspirations to make Voices.

A manga serialization based on the series in Afternoon magazine from Kodansha in Japan. It was run monthly from February 2004 to December 2004. The story of the manga begins at the same point as the start of the anime and carries the story a little bit beyond the anime itself. Makoto Shinkai wrote the manga, with illustration work done by Mizu Sahara.””

(per http://en.wikipedia.org/wiki/Voices_of_a_Distant_Star, with edits)

(Damnation! I am back to my bad block-quoting habits again!)

Voices of a distant star is exceedingly fast-paced and dense  narrative for its 26 minutes; a casual viewer might have trouble following the action, let alone making sense of the plot. As a long-time reader of American science-fiction, I immediately “read” it as playing with some of the same themes used by Joe Halderman’s landmark Forever War (1974) series and his later Mindbridge (1976).

Elite youth conscription, interspecies war against incomprehensible aliens, lovers separated by time dilation effects and aliens who are telepathic clones who either cannot understand individualism, or believe that the fears expressed in human subconscious thoughts are actually conscious desires (We thought you wanted to fight for fun!) helped me impose a coherent “understanding” on a fragmented narrative that was frightening in its beauty and over-wrought in its emotionalism.

Just say that I am a sucker for long distance romance stories.

hoshi no koe dont mess with grim girl

A few jarring idiosyncrasies in the story help fix it in my memory, and give it an unmistakable “Japanese Anime” feel. Mikako pilots her Tracer from a ovaloid pod-seat with a 360 degree holographic display, so she seems to float in space or above landscapes, while ticker-tape displays on the edges of her field of vision keep her and the viewers updated. Fortunately for me, the UNEF uses english for display text. Now if they could only buy her a proper uniform. Yes, the fleet’s deadliest Tracer pilot wears a middle-school uniform throughout her battles. She is truly a “schoolgirl in a mobilesuit”.

hoshi no koe detail

Another oddity: the years 2046-2056 are a nostalgic time for the Japanese cell-phone market, as they have re-issued the iconic Sharp J-phone, suitably updated to relay sms messages through UN Fleet channels. Anyone out there who needs to cosplay Mikako (or Noboru) can have mine (no I didn’t fanboy out, I got it in a pile of phones from my sweetie’s relatives) for a suitable bribe plus shipping. As a final insult, the J-phone is obsolete and its 2G wcdma protocol is no longer supported by Japanese cell phone companies. Cosplay use only, sorry.

Other anachronisms are the Japanese urban scenes which update the utility poles to make them wireless, but preserve freight rail transport so as to give the viewer plenty of transition scenes that pay homage to Yasujirō Ozu. This is an oddity compared to contemporary Japan: I have never seen a freight train in Japan, only passenger trains. I know they must exist, but they hide them well. Nothing like a war with aliens to shift rail use back to material transport.

Also in terms of visual tropes and homages paid, I commend the obsessive viewer to compare the scene where Mikako’s Tracer chases a Tarsian pod ship across a lake surface on Agartha with a later similar scene in Howl’s Moving Castle. Such imitation homage is a standard part of the “society” of producers in modern Japanese visual culture. Even barbarian furreigners have caught on; one could run a dangerous drinking game prying apart the giant robot fight scenes in Guillermo del Toro’s Pacific Rim, but that is for another day, or a more experienced anime blogger. Oh heck… Pay close attention to the “slice the Kaiju in half from head to toe” during the “breach” battle scene. And the Jaeger is missing an arm!

A la recherche du temps perdue

Voices of a Distant Star spurred more than a few love-it-to-death acts of appreciation from anime fans in the rest of the world. Though an official dub would soon appear, the initial grey zone fan-subbed release was one of the first using the .mkv video encoding package and a then-obscure high-resolution video codec. An advance subtitle protocol was also used so that fonts, placement and timings could be better controlled, all while the enthusiast group made strident declarations that it would not release a smaller, more download friendly and low-powered computer watchable version of the video. It was just too beautiful to ruin with fuzzy video encoding and ugly subtitles.

Back in 2003, high-speed internet was less common than it is today and hobby machines were far less powerful. High definition videos could take a week of all-night dial-up downloading, as modern conveniences like bittorrent and file-drop sites were rare or nonexistent. A determined Japanese anime leech would get a “news-reader” program and possibly some text attachment plug-ins and then would see if their internet provider carried the alt.binaries newsgroup hierarchies and did not impose message length limits. In the latter cases they were left to find an open news group server, wait 30 minutes to load the hierarchy and finally the newsgroup “articles” availability and set their “reader” programs to download huge text messages overnight, which could then be reassembled, decoded, repaired with extra error-correction data sent in further huge messages, unpacked and joined up into their prize.

Back then you really worked for your anime fix. Figure from three evenings to a week per short anime. More if the postings evaporated and you were left pleading for a re-post of a section. Finally when your latest catch sat on the desktop of your home pc, you would have to chase codec packs and find a highly efficient media player so that the .mkv could play without stuttering or causing your machine to crash. If you had a mac, you crossed your fingers and hoped that VLC could handle the load. Quicktime would only play what Apple allowed you to play, with some few exceptions provided by dodgy utilities.

Still the payoff was worth the prolonged effort. You got the newest “good stuff” – the better it was, the more the legions of anonymous fans worked in loose cooperation to disseminate it to the faithful. Also the subtitles often came with footnote subtitles, explaining difficult cultural and translation points, and striving for authenticity. Commercial releases had stupid cutesy hillbilly voiced dubbing and “localized”, poorly translated subbing. The fansubs for one release of Ghibli’s Spirited Away had more footnotes than an average undergraduate sociology paper. These ran above the frame, while the dialogue ran below it. The fansubbers and distributors all knew they were possibly committing a civil-law tort, (as opposed to a crime – it wasn’t back then and still isn’t in many jurisdictions) against the rights-holders but always justified their actions in terms of love for the product and revulsion over the lack of properly venerated western releases. They saw themselves as elite missionaries. From 1999 to 2005, this was pretty much the way lots of anime made it into cheapskake gaijin hands. (Aside: this has absolutely nothing to do with the “download by usenet” come-ons you see on certain sites. Avoid unless you want to hand your machine over to netcriminals.)

No one really has the time for this sort of thing any more.

beautiful-fighting-girl-saito-tamaki-paperback-cover-art

Voices of a Distant Star was created and released after the year 2000 publication of Saito Tamaki’s Psychoanalysis of Beautiful Fighting Girl. The book was and remains a landmark, if only because so many responses to it were offered in the wake of the controversy it stirred up. A full treatment of Tamaki’s opus is beyond this post, but a preliminary contrast between Mikako and his ideal fighting heroine is a useful exercise. Tamaki’s beautiful fighting girl is an emotional cypher at her core. In contrast to the American (super) heroine who is often older and carries a traumatic back story that is overcome through heroic activities, the BFG fights because she was born/ created to fight. Fighting is what she does, and she derives that curious sex-deprived joy of French critical theory – jouissance – from her battles. Male characters, especially sports-consumed young male characters are often written with similar thin motivation, but even they eventually get some back story. The BFG gets a revealing outfit an a mofo big weapon, often long, very rigid and dangerous. The symbolism is obvious, forced, and after the publication of Tamaki’s study, self-consciously ironic. (The doc sez it is supposed to be a phallic symbol, so make it BIGGER!)

The pit does not stare back, but sometimes it glances provocatively over its shoulder and winks:

Another aspect of Tamaki’s BFG, which he initially glosses over or misses is how unlike most female characters, the BFG is emotionally stunted and unconcerned/ unskilled in social interaction and empathy. For the male otaku consumer, she is a fantasy character that could not only whomp his ass without breaking a sweat – or the asses of anyone who ever tormented him in real life, but one that he, a ronery basement dwelling neckbeard could give tips to on social interaction (!) Perhaps he could even help her with those mysterious, troubling feelings she is beginning to experience when she is with him…

Bwah Hah Hah! No really…

What nailed this point home to me was an obscure shojo-ai manga, Transistor Teaset that featured a plucky girl electronics geek trying to keep the family electronics parts store in Akihabra alive, and her friends who both had mostly-innocent designs on her affections. At some point they all end up building a “robot maid”, and the gamine- like otaku- ish younger friend then insists that it must speak only one line, in our heroine’s recorded voice:

“What – is – this – thing – called – love ???”.

Here was the emotionally vacant BFG lampooned with vicious and devastating comedic economy. Robomaid subsequently runs amok and ends up haunting the back streets of Akiba town, headless yet still issuing forth her doleful plaint. (off-topic, but of note: the next story arc “Lets meet at Mansaibashi Bridge” is a beautiful retelling of a classic Japanese ghost story and is worth hunting down.) Even a “real” girl in a manga can poke fun at the emotional void in the heart of the BFG.

Back to our heroine Mikako and her problem. An elite “fighter”/ mecha/ Tracer pilot she has learned not only how to wield a complex weapon to defend herself, but to kill. Her weakness is her homesick longing for her male friend, and the regrets she harbours that she was never able to tell Noboru that she loved/ loves him. This lack of traumatic back story is enough to place her solidly within the Tamaki typology, but she is also something else, something missed in Tamaki’s elaborate typology of fighting girl types and something far more dreadful – born out of the wars and disturbances of the late twentieth and early twenty-first century: a child soldier.

Black sails returning:

Among other quips, Jean Baudrillard was known for his cryptic comment that “the messiah always arrives a day too late“. What he meant was that by the time an existing trope or social form goes “hysterical” it is already without consequence; “already out of fashion” (or out of the reality of social force and into fashion) as the case may be. So that by the time Stallone’s Rambo was re-winning on film all the disappointing stalemate battles of 40 years of American foreign adventure, the most lethal, cheap and deployable soldier available to the world’s warlords could be found not in the ranks of elite mercenary corps, or SEAL teams, or even angry Vietnam era veterans, but in the frightened survivors of slaughters in equatorial African villages. Just have your speed-addled terrorized child soldiers kill all the adults in a village, then force half the surviving children slaughter the other half, beat and starve the surviving few, then load them up with amphetamines and you have the twenty-first century’s newest, cheapest and deadliest fighters. You might lose half of them in any battle, but more can be made when needed. Welcome to the Lord’s Resistance Army.

Or you could opt for the high-tech version, popularised early on in American sci-fi by Orson Scott Card in his Ender’s Saga.

Mikako is closer to Card’s Ender. Unlike the Forever War‘s William Mandella and Marygay Potter, Mikako was nowhere near university age when conscripted/ recruited. Halderman wrote Forever War on the tail of the Vietnam conflict; in 1974 the idea that a nation’s best and brightest youth would be sacrificed to a lottery of perpetual war and death – the Minotaur’s Maze updated, was shocking enough: no need to suggest that Unka Sam would go after school children, yet…

Unlike Saito Tamaki’s BFG, both Halderman and Card spent extra time and effort around the question of how to motivate their young pawns to fight ruthlessly. In the first actual battle in Forever War, the recruits find themselves under the spell of hypnotic conditioning that turns them into beserk homicidal fighting fiends upon hearing a trigger phrase. This ensures that they don’t waste time gawking at the stringy “Tauran” enemy in inoffensive looking transparent bubble suits. Friendly fire casualties ensue, and half the surviving earth soldiers go mad from post-traumatic symptoms. Card uses the computer-game metaphor, ruthless drill/ competition and remote telemetry to achieve similar depersonalizing effects. Both sagas started as short stories that allegorised limited hypothetical arguments. Both went on to grow in the telling, but Halderman’s opus remains more humane and appealing to me.

Some day I must dig up a Japanese translation of Halderman’s Forever War and send it to Dr. Tamaki – or perhaps I am years too late.

Strange how the female child warrior gets a completely different treatment in manga and anime than her male counterparts. Jormungand‘s Jonah and Full Metal Panic‘s Sagara Sousuke are afforded far more room for emotional agency, while the restraining of their lethal reflexes becomes a reoccurring sub-plot. The BFG simply fights, rests, waits and fights again.

230px-Nausicaa2cover

Of note is that Tamaki’s highlighting of Princess Nausicaa as a prototypical sub-type of BFG must be taken in the context of Hayao Miyazaki’s longer effort on the Nausicaa manga. Serialized in Tokuma Shoten’s monthly Animage magazine, the first chapter was printed in February 1982 and the final chapter 59, was eventually published in the March 1994 issue of Animage. Many aspects of the manga were unconventional, its layout, pencil-only art work, the pacing of the story and the visual sense of scale, as well as the apocalyptic arc of the entire saga did much to give Tamaki notes for his prototypical “Miko” or “priestess-medium” type. She alone takes on the responsibility of deciding that the ancient technology that waits for the purification of the land must be destroyed. Some synopsis’s suggest that she perishes in the process.

“She is beyond good and evil, Western values mean nothing to her”

Tamaki cautions against simple plot-readings of the BFG trope, instead seeing her archetype as the locus of hysteria in character and reader alike. I may have read this part wrong, because the hysteria section of his work is the one point where his arguments become completely and utterly opaque. Many reviewers have warned that the work, available in English translation since 2011 is full of dense post-lacanian psycho-babble and that it meanders all over the place.  Upon finally securing a paperback version and reading the entire thing I found it logically ordered, well researched and carefully argued and a reasonably good if not too challenging a read. It is far superior to his shorter work on Otaku Sexuality examined earlier in this blog.

Except for the hysteria section.

Best I can make out is a feedback/ overload condition between everyone and everything surrounding the shocking realization that someone could create and present the BFG as a character. The BFG is a trauma on the (male) imagination, a shock-as-wound that male fandom keeps falling into; one so popular that fan-producers and commercial producers are driven to recreate her again and again so that the trauma can be forever experienced and re-experienced and shared with new converts.

stuff works the way it should crop

The trauma of course is the BFG’s real, physical libidinal effect on the (again male) reader. One shouldnt get horny thoughts from looking at a manga heroine. Surely this is the path of madness. (Don’t call me…) Hato’s reading of het male oriented dojins allows him to experience this thrill in a ridiculously funny context. He is surprised, yet reassured that the “normal” stuff still has some effect for him. His original trauma was something quite more surprising and “other” than a mere armored cutie. Was Shimoku-sensei having even more fun with Hato then we originally thought?

The afterword to Tamaki’s 2006 paperback re-issue of Sento bishojo no seishinbunseki (戦闘美少女の精神分析), (Psychoanalysis of Beautiful Fighting Girl) recommends the Genshiken manga series as a valid fictional treatment of a University-age otaku community. Hato was created shortly thereafter. His traumatic wound was fixating on yaoi pr0n at an early age: a type of “trauma” that may serve as the female analogue to the Beautiful Fighting Girl (the Beautiful Bonking Bishonen?), but is comically mis-applied to a young male. Tamaki’s repeated promises to examine fujoshi sexuality have all so far come up short; he lacks access to correspondents and he is too steeped in the sexism that lays deep within the very grammar of post-lacanian psychoanalysis to yet pull off a convincing theoretical framework.

easy to replicate effect final

Others have adapted the post-lacanian methodology: Kazumi Nagaike’s work can be read as a worthy and useful variation on the theme, especially when one considers her update of her 2004 thesis, published as “Fantasies of Cross-Dressing: Japanese Women Write Male-Male Erotica” rather than the original/ (previously reviewed in this blog) first efort. Unfortunately “Fantasies” has a list price of $130, so Google Books excerpts and the original freely downloadable thesis are all mere mortals like us will see of it. “Fantasies” seems to lose a lot of “the veneration of the demon bones of Freud” that plagued her earlier academic effort and delves deeper into the cathexis, the shock of a “scopophillic“/ voyeuristic libidinous charge that female readers of rough yaoi pr0n and earlier variants experience in their first encounter with the hawt stuff.

Some divergence between the male and female experience, especially among communities can be extrapolated. Per Tamaki, the males become ironic connoisseurs of the effect, internalizing the shock of desire for a fiction and turning it into knowledge and mastery of the formal elements of the narrative. Taken too far, this leads to the “database animals” scratching an itch with products from the Otaku automat. The female variant enjoys a similar social urge to share and promote the thrill/ trauma/ wound, but also values narratives that use nested levels of storytelling as a guide to the initial “enjoyment’ of the weirdness depicted in their fave tales. So at least claims Nagaike as she details the plot convolutions of early 20th century Japanese literature that takes up proto-yaoi themes. Nagaike’s “Fantasies” even features long appendices with her translations of the examined proto-yaoi tales. Some of these are not for the squeamish.

Of course later fujoshi social practice also engages in elaborate typologies of plot tropes, that crystallize around the pairing dynamics of the male characters. Given the high percentages of historic participation in Japanese fan-produced parody culture, including their participation at decades of Comikets, it is a wonder that some theorist has not declared male otaku culture as largely derivative of female fan parody culture, if not strongly influenced by it.

I just wish Nagaike had used a better title. The “cross-dressing” here is all conceptual and virtual, by the fujoshi (and proto-fujoshi) who assume a fake-male/ fake-gay-male viewer position to better enjoy the some naughty stuff. Unfortunately the title puts the work into the F-to-M trans theory pile where it languishes and disappoints those interested in the  issue.

Other attempts at playing the post-lacanian hysteria card to explain fujoshi or wider shojo desire are perhaps more ambitious, or more lazy or more poetic. Mechademia Vol.6 has Frenchy Lunning deploying Kristeva’s theory of the abject in her “Under the ruffles: Shojo and the morphology of Power“. What we get is the vertiginous flow of Kristeva-esque hyperbole a la full Powers of Horror (get your copy  here) mode, without the rigorous buildup. We all love Kristeva for her poetics, but she can get away with it because she also brings a feast to the table. Just saying… we critical-theory-moe types can be greedy and ungrateful.

Urrrrp! Needs more meat, less ruffles.

Voices of a Distant Star is chock full of moe, but Mikako the child soldier is more reluctant hero than battle zombie girl, great honking plasma sword notwithstanding. (push the SWORD button and yell “For My Family!”) One thing that Tamaki never really delves into is the difference between a hero girl, or girl hero and the Beautiful Fighting Girl. The BFG is an object of pure, shocking, disconnected libidinous desire. The American female super-heroine is an older “real woman” working off some injustice. But where is our hero of a (next) thousand (female) faces? As I ventured early on in this blog, Dorothy of OZ is not a very solid foundation for building a tradition of a female Bildungsroman upon. (for more on this and the idea of the frauenroman see this site.)

Much remains to be discovered as to the appeal of the Beautiful Fighting Girl, or heroic girl, or the shojo hero (as opposed to the shojo heroine?)

At this point all I can venture is that idealizing and/ or desiring heroic female agency is probably healthier for males and females, than idealizing and desiring female subservience and powerlessness.

Call it a win.

Warning! Warning! Category field breach!

As I read way too much manga online, I try to adopt M.J.Johnson’s earlier quoted dictum…

“You can say ‘Male pregnancy stories don’t do it for me’ if you like, but to say ‘Male pregnancy stories are stupid and childish and people should stop writing them’ is not only arrogant, it’s dangerous. All fantasies are legitimate or none are, and to discredit the male pregnancy fantasy is automatically to discredit your own fantasy of mutual empowerment and non-penetrative sex.”

…In a wider context, that is to say that if […] doesn’t work for me; Ok, but to condemn […] out of hand is to condemn all desires, including my own. The trick is to do so while still drawing a line, because some desires are just plain nasty, harmful, and criminally irresponsible, even within the realms of “fantasy is fantasy”.

As well, there is the ‘my boat” effect: This is the stuff I read and think about for enjoyment during my free time, and I know what I like. I think I know what I do not like. Of course I don’t know all of what I like, so I shouldn’t dismiss entire genres completely out of hand, on the other hand

Whatever!

That said, IMHO, pour moi, [add a few more caveats here] …

…historical themes, fantasy realms, anything involving “virtual reality” or “I fell into a game”, including virtual girlfriends, %99.98 of all sports manga, tales of horror, guro/grotesque, cat girls, alien girl dropped on surprised boy, teacher crush and incest angst potboilers, delinquent high school/ or yakuza grinders, death- fights- on- islands, lets start a band/ be an idol/ become the world’s greatest chef epics and anything with small magic ponies are about as avoidsome for me as yaoi/bl (except that the rotten girls who produce the last are my fave pure radioactive sociology candy).

And then there is the little matter of vampires…

Short form of hate-on: “Protector” by Larry Niven.

I encourage those of you who have met Niven’s creation to now pause and think of them as a thought experiment: something that works like a vampire but is diametrically opposite to the vampire character. Those who haven’t yet, go get some.

They would be as gods except for their innate compulsion to always think things through to logical extremes and immediately carry out a scorched earth conclusion – and that they must protect their blood-kin at all costs.

Nowhere does Niven claim to have created “protectors” as an antidote to the maddening mush that is high church canon for vampiric tales, especially post-Rice bodice (and suit-coat) ripper, slash- influenced teen fan-fic derived potboilers. (whew!)

So, you live forever, heal fast, have amazing strength, and that allows you to act like a spoiled rich spiteful teenager forever, Uhuh? I await the giant meteor impact on the next page. Most vampiric characters are small malicious boring fools. I am not the first to note this; there are 20+ sub-variants of this effect on the TV tropes site, but again, I judge it hardly worth the powder to blow the genre to ifny. Does not work for me. You may find small malicious boring fool characters quite amusing and endearing.

A few writers have worked this problem to comedic effect. Jody Scott’s Sterling O’Blivion is a wonderful, funny creation. Who can forget their first guilt- laden- catholic- time- travelling- lesbian- dance- instructor vampire novel? Especially if she falls head over heels for an alien manatee who insists on shapeshifting into the semblance of Virginia Wolf to attract our plucky heroine’s attentions? It was gushed over by old-school euroethnic middle-aged male sci-fi writers when it first appeared (which was so odd that stick-in-the-mud boy decided that he had to read it, oh so, so long ago – maybe it is her fault that I developed a taste for yuri?), and has gone on to become a minor cult classic. Sadness: footnoting this just led me to news of Ms. Scott’s passing in 2006. In lieu of an elegy, see her web page archived here:
http://web.archive.org/web/20071020180558/http://jodyscott.org/

Vampires are of course as popular as french pastry in manga-land. Most are as stupid and obnoxious as the western product. The “Blood, the last Vampire” anime short was a groundbreaker, (the vampire as ur-BFG) but sequels degenerated into post-Rice mush. The live-action movie sucked. There is a bishie BL prequel to v2 out in manga format. Blergghh! OOOps Doesn’t work for me…

Negima‘s goth-loli vampire was a slightly better creation, at least by the time she popped up to time-travel-ex-machina at the end of the epic. Her initial character grew considerably, aided by her reclusive, anti-social outlook played against the sad, defiant crush that drove her to support the boy magician – the son of her barely requited love. Still, she could have used her considerable knowledge, power, longevity and cynicism to become a capitalist dynast or even make some school friends years earlier, rather than hide in a bottle. How can one live so long without picking up even a shred of (dare I say it ) humanity?

Which leads to the very popular, initially engaging, extremely densely written and ultimately unsatisfying world of “Dance in the Vampire Bund“.

I should have known better. This is one of the drawbacks of hunting for something new. You think you have found an interesting exception to the category and then lots of somethings go wrong. Most of the time it is “workmanship”: the story falls apart, goes nowhere, reverts to all those tropes of the genre that I already know do not work for me.

And then you get the really ambitious ones that turn into a monumental train wreck, or worse a monumental train wreck made up of all the annoying bits of multiple avoided genres…

All while you realise that your train wreck is a tasty smorgasborg for the series’ fans.

from the wiki:

“The story revolves around Mina Tepeş, princess-ruler of all vampires, and her protector — Akira. Like other vampires, Mina has been in hiding with her people for many years. Seeking to end centuries of isolation, Mina gains permission to create a special district for vampires, “The Bund,” off the coast of Japan by paying off the entire national debt of the Japanese government. Mina then reveals to the world the existence of vampires and her desire for both races to live together. Tensions, however, run high as fearful humans and extremist vampire factions begin to interfere with Mina’s wish for peace with the human world.”

The main problem with Bund is that it tries to be all vampire stories, and a whole bunch of other genres, all at once, to everyone. So at any moment we are getting “Japanese society falling apart due to panic and suspicion” (The Martians Have Landed on Maple Street), The Diary of Anne Frank, Anne of Green Gables, a high school power struggle tale, suicide bomber terrorist threats, nanotech infection epidemics, geopolitical machinations by corrupt politicians, court chivalry romance, goth loli fanservice (Mina-hime is way too young, and her outfits way too skimpy – certain parts of the localised US anime had to be censored) werewolf bonding/ betrayal grinder and rotten girl fanservice vehicle with a furry yaoi rape scene.

It also has battling maids, Rasputin, elite commando strike teams, human and vampire riots, a South American drug-cartel running spoiled aristocrat vampire lord, a stripper with the heart of gold, a runaway nuclear reactor, black helicopters, a shotacon couple turned vampires, cute kids who save the day by navigating the hidden sewer tunnels under the city, and oh gawd, I lose track.

So far no done- as- an- Andrew- Lloyd- Webber- Musical episode. No Mecha or magical little ponies…

Yet.

Who again is this thing written for?

Moar wiki:

“The manga series is serialized in Media Factory’s seinen manga magazine Comic Flapper”

Even more wiki:

“Seinen manga (青年漫画?) is a subset of manga that is generally targeted at a 18–30 year old male audience, but the audience can be older with some manga aimed at businessmen well into their 40s. In Japanese, the word Seinen means “young man” or “young men” and is not suggestive of sexual matters. (The female equivalent to seinen manga is josei manga.) It has a wide variety of art styles and more variation in subject matter, ranging from the avant- garde to the mundane and to the pornographic. Because of the emphasis on storyline and character development instead of action, some seinen series are often confused with shōjo, or girls’ manga. [citation needed]”

Is this a separate genre from moe-blob fiction? Is this what turns Madarame’s crank? Is this closer to Saito Tamaki’s beautiful fighting girl stuff? Or it is just pure lolicon?

A few points of interest:

The plotting frequently relies on the obedience that the vampiric bite-er can compel of the bite-ee, a hardwired behaviour that forms an absolute hierarchy of deference that culminates with the princess herself. I am guessing that this resonates with the sempai/kouhai and sensei/ student deference patterns in real-life Japanese society. That these patterns are breaking down only makes the mythologized version more resonant. (This is a Baudrillard conceit on my part, plz ignore if jarring, I just like doing it)

The “hidden hand” secret society behind %90 of the upheavals in the story has even used this effect to sow global confusion with a nanotech “virus” that overstimulates the obedience compulsion in vampires, causing them to commit self-destructive terrorist acts in the belief that their regional vampire leaders are ordering them to do so. (An allegory of religious extremism? How quaint!)

A Vampire “Bund” or (never mentioned) Dejima! What a way to deal with the immigrant question!

Gaijin ways and bad behaviours are contagious. A vaccine might not always be available.

The dance in the aristocratic court of the vampire princess“: These tropes begin to vex, but have enough of a resonance with the origins of the vampire mythos in euroethnic society to hold my attention. The origins of the Western vampire mythos owed a lot to taking the vestiges of a corrupt, venal, oppressive European aristocracy and essentializing them within a bogie. Nosferatu was always a post-french-revolution Sade-ian aristo, after the pure peasant girl and one step ahead of the Bastille day mob. Blood- sucking parasites all! Van Helsing was no Marx, but he might be a friend of Engels.

The court of the vampire loli princess is still an absolute monarchy, and has to be absolutely ruthless whenever the aristocratic ambience needs a boost. While necessary to the chivalry themes that are deployed surrounding the protagonist Akira, they also serve to set at least two strong friendship vs deference subplots in motion. There is also the entire succession/ marriage of the true-bloods sub-plot which sets the stage for much court intrigue and loli lust angst.

Oh, and we get to see the princess’s “true form” adult, voluptuous, armoured fighting girl (so not underage, therefore not really loli smut – she just “hides” as a half-nekkid prepubescent tyrant so she wont be married off to some regressive scumbag from the old vampire aristocracy.) Yeah, right…

With all her advanced medical resources and cynical realpolitik, the idea of keeping a dewer flask of liquid nitrogen, a turkey baster and some very sharp knives close at hand when her slimy true blooded suitors come calling somehow eludes her.

The concluding arc of the manga, with Mina and her doppelgänger plays the court chivalry and deference notes to extremes. I wonder if our heroine’s last trick will be to introduce a virus/ nanotech/ plot device that breaks the obedience compulsion in vampires and grants all of her subjects free will as she institutes a constitutional monarchy. So much for sequels.

As troubling as the too young and too skimpily clad vampire princess is the fujoshi fan-service that sneaks into the story line. I should have expected it when the schoolgirl friends, maids and the princess started to get interested in the fan-fiction written by the good-hearted (non-vampire) girl.

fujoshi time ditvb_33_27

Fujoshi wink-wink-nudge-nudge should have no place in a guy’s manga, but the author and the publisher know that rotten girls troll these magazines for pairing fodder. Here is iron-clad proof that at least one mangaka is ready to exploit this effect.

Not only did the ship-your-male-aquaintances trope pop up. Before you can say “childhood crush” we are introduced to a very effeminate, sometimes cross- dressing werewolf pack buddy of Akira, one who went through a traumatic rite-of-passage with him, and who has extreme ideas of how to demonstrate the strength of the bond forged during that time. Even princess Mina gets jealous until it dawns on her that wolf is a dude!

This would be no problem, even when the mangaka tossed in a gratuitous yaoi-rape scene wherein effeminate wolf sacrifices himself to calm down a berserk-mode werewolf, one of the four buddies damaged horribly during the survival test/ rite of passage.

This is what gets the rotten girls off?

It went a bit like this, only with more taut bishie thigh, ass, screaming and clawing..

furries Plushophiliac

Wasn’t it nice of me to spare you the details? Wow, I didn’t freak out in disgust. I might have a few years ago. Award myself 2 “adult maturity points” and keep reading. (lose one point for subbing in the furry pic – couldn’t resist)

But worse is to come: What really, really, really pissed me off was that a few chapters later it is revealed that gay- wolf- boy has been allied with the nameless conspiracy and is murderously sabotaging and killing off all manner of allies and friends because he is gay, and if only the princess can have Akira, then anyone else who looks up to him should die, die, die – including himself, preferably by Akira’s vengeful hand.

Uh Huh! The faggot did it, motivated by psychotic faggot-lust, with some faggotty death urge tossed in.

Ya can’t trust them… they just do that stuff.

Rotten girl tropes of motivation for extreme behaviour merge with mean-spirited old-school homophobia. Ok, the mangaka is a guy, so this is not a ‘true” fujoshi-made bl/y artifact, but it gave me the same angry sinking feeling that I got when I realised that every single goddamn P.D. James mystery could be solved early on by finding the “artsy” character. Find the hidden freak, they did it. Throw away the book, change the channel on the Beeb tellie version on PBS Mystery. They will murder again and again indiscriminately to cover their tracks, driven by artsy (often gay or lesbian) psycho-ness while the detective gets more and more depressed.

That, like Bund is just lazy writing that hides behind a nasty inflexible way of looking at people.

Even a middle age straight boy of euroethnic extraction can get riled up in a politically correct way if the alternative is stupid brain-dead fascist shyte.

Meanwhile in the real world, Vladimir Putin’s Russia has decided that all that Western gay marriage stuff is seriously undermining the country (by doing what? letting a few people snuggle their way?). The Duma has now passed strict laws against anything that can be considered “gay propaganda”. I presume that means that a lot of scanlated fujoshi manga is going to have to vanish from rusky servers and a few of New Russia’s rotten girls will end up in the slammer along with Pussy Riot’s singer. Will yuri be exempt? Does Putin, like the book of Leviticus, Queen Victoria and Saito Tamaki believe that lesbianism is inconsequential?

Don’t try to smuggle any Anne Rice books into Moscow.

Moscow does not believe in yaoi.

Both the meta-fictional world and the real world betray similar urges towards the cynical uses of bigotry.

I might drop by “the Bund” again in half a year to see if my hunches on the plot-mess plays out. Even psycho gay-wolf boy, thought dead, has re-appeared: will he sacrifice himself to atone for his past sins, or will he murder and betray again? Maybe he will just find another pretty wolf-boy, settle down and declare that evil hidden conspiracy nanotech made him do it. Perhaps a few mecha will be dropped into the mess; so we can have werewolf special forces elite commandos (they carry SG1 issue P90’s) piloting mechas against Chinese vampire bio-engineered tentacle raping 50 foot high slime monsters. (though we already have had a tentacle rape creature in one fight scene…)

Followed by a giant meteor impact, earthquake, tsunami and nuclear plant meltdown, with Japan sinking and everyone having to cross-dress to survive, but only through the magical power of friendship.

Contrast Bund to a the remix of tried and true sword and sorcery tropes in the Maoyuu Maou Yuusha franchise. (http://en.wikipedia.org/wikis/Maoyu) As mentioned, I avoid sword and sorcery stories, but the allegorical device of naming all the characters after their roles, plus the first battle scene in the court of the Demon Lord hooked me.

The Demon Lord is a voluptuous, bookish demon lady economist and historian. She looks great with or without reading glasses. She wants only peace and prosperity for both demons and humans. She plans to end the perpetual wars between humans and demons with applied agricultural science, potatoes, mercantilist economics, and the help of the hero (named Hero) who shows up to battle her and gets an economics lecture and a marriage proposal of sorts (Hero  is a bit dense about romance, he hasn’t quite figured out the whole deal yet – surprise: she’s sweet on him!).

It reminds me of all the 1970’s era “rise of civilization” mainframe computer games like Sumer, and of H.B.Piper’s Lord Kalvan (aka Gunpowder God). Maoyuu plays to its strengths as allegory of rationality vs the harsh realities behind the romanticism of sword and sorcery feudalism. It does one thing, and does it well.

Nozomu Tamaki I am wise to your tricks! Pull your socks up and finish off this manga off properly!

Oh wait.. non-vampirised human girl wakes up in the school infirmary! It was all a dream!

Rage.

Another category field breach:

I like the drawing style and cynical humour of the relationships in Rendou Kurosaki’s Houkago Play. I know that he (?) also writes ecchi stuff, both in yuri and yaoi -land. I generally try to avoid yaoi, –hey it’s just me- but I had to look up his oneshot “ON” because I had read everything else of his that was scanlated.

I do not know how to process it.

I had the benefit of the aggregator site’s “yaoi” warning; its original readers in a josei mag must have wondered at least for a few pages whether one of the couple was male or female. Soon enough all becomes clear, and depressed young gay kid is letting the slightly older “beatnik” character come in his face. I guess the depiction of gay secks isn’t too shocking. Then the couple cuddles while they struggle to express how they feel. Neither can express themselves well out loud.

dont kill yoself little gboy -ON Kurosaki Rendou p10 web

I was overcome with a real strong feeling of “hey young gay kid, don’t throw yourself off a bridge! It will get better, somehow…

Yeah, they are just fictions, but my sympathy buttons were pushed.

I award myself 2 more adult maturity points.

This doesn’t look like what bara is supposed to be, doesn’t have the ritualised pairing characteristics and ass-rape of canon yaoi, and lacks the happy ever after of yuri’s “story A“. And it is by a male mangaka. I am guessing it would be completely at home in some gay-positive western publication aimed at troubled teens, but Japan ain’t supposed to give a whit about real LGBTQ folks.

Whatizzit ???

Is this moe for a certain subset of the tribes of rotten girls or do most hate it?

One of my senior advisors at the editorial desk, Bill Occam is grumbling at me that if seinen magazine staff know that rotten girl readers check seinen magazines for bishie material, then josei magazine staff can expect that closeted young male Japanese gay guys probably troll through josei magazines looking for a yaoi/bl fix, and it does well for sales to toss a sympathetic affirmational cookie in their direction now and again.

At least genre innovation is alive and well in the pages of manga magazines. A correspondent reports that one of the big yuri series for LFB’s (popular with western wimmins too), one which I have avoided because the characters look too young –hey it’s just me– features clumsy sex fail comedy. I have often wondered why such an inescapable part of human intimacy is missing from manga-land.

Non-idealised funny/ sad mediocre bonking is the last frontier! Considering how much of it exists in the real world, it might be a revolutionary thing to advance social scripts on how to deal with it.

It made Dennis Arcand’s Declin a hit

So category field breach can go either way I guess.

Which leads me to an AWSOME THOUGHT EXPERIMENT!

How would Genshiken read/ look like if done by Aoi Hanna/ Wandering Son’s Takako Shimura?

… Pause for dramatic effect…

Hmmmmm…. Redrawers and typesetters needed.

Either World Domination or something about bananas

Wherein your correspondent tries to write something two weeks after my emergency surgery for something nasty that almost left me blind in one eye. Fortunately all went well and I will not have to wear an eye-patch for the rest of my life. Still a bit cross-eyed though, which makes reading and writing a headache. Hooray for Canadian socialized medicine! Sorry, no massive theory post on fan production and distribution yet…

Instead, a quick ‘n dirty review of

Otaku Sexuality
by Saitō Tamaki

Translated by Christopher Bolton,  Introduction by Kotani Mari 

In “Robot Ghosts and Wired Dreams : Japanese science fiction from origins to anime” – Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi, editors. pps 222-249.

The oblique intro:

I need a manga or a visual novel with an odd plot so badly that I am tempted to learn Ren’py and make it myself. I need a set of adopted twins, boy and girl, home-schooled in Japan, and raised by a very rich odd couple; a gay captain of industry who is “papa” and a pre-op transwoman “mom”. Pop culture lore has it that in Japan, a doctor’s note can get your gender re-assigned even without the need for surgery; so this little just-so story plot twist ain’t tooooo far out – except that the only news reports I have heard about in Japan involve couples where both parties were originally female.

Much later: Ok this might be a bit insensitive, or at least inelegant: Real world transitioning folks in Japan still face substantial discrimination and hassles. See: Woman waging lawsuit to eliminate prejudice against gender identity disorder,   By CHO TSUIN, October 30, 2014 at:  http://ajw.asahi.com/article/behind_news/social_affairs/AJ201410300009

Anyways, the “parents” are only a plot device for the kids: I need to redo Rousseau’s Emile, and put the boy and girl genius twins in first year university psychology class (let’s call them Emile and Emilia, or Mike and Michelle V. Smith), because I am sick to death of reading pop psychology that is %98 coherent, only to run time and time again into Freud’s mumbo-jumbo castration theory of sexual development and the origins of desire.

How Annoying!

It is like finding out that your favourite theorist or singer or actor is also a member of a nut-bar cult.

It needs to be whacked, but good, if only in fiction.

I guess Varley (viz: Steel Beach) and before him Delany (try Triton) have touched on this before, but they never ruined a story by hammering home the point, so a crude low-grade preachy plot device tale may be in order, if only as a great opportunity for some low comedy.

I want the twins to calmly point out in psych class that they must either be gods or demons, because everyone else has such quaint ideas about sex and desire, and this must be because their “mom” “had one”.

It has to be twins because “I can’t believe etc” and we need both male and female variants for the thought experiment. And for extra plot mojo, the only odd thing that mom and dad taught them was how to fight ZOMBIES!

Otherwise they are well-adjusted, open-minded, sociable and not too hung up on secks, though of course they do tend to stick very close to each other…

Hilarity ensues…

On second thought, they would still be patriarchal constructs. The story needs a set of opponents; the other set of “new-family type” twins at the university: studious, hardworking, student government rule sticklers, raised by two hard-working lesbian moms. Of course they resent the heck out the easy-going rich kids, Freudian voodoo theories notwithstanding.

Hey! Shimoku-sensei! Are your editor’s minions getting the translated weekly intel sheets to you? This is a winner. C’mon! this should be easy for someone who came up with Ramen Angel Pretty Menma! My gift for all the Genshiken I have read and avoided paying for… OR maybe I can give it to the creator of Franken Fran.

Come to think of it, this is probably the reason for the western conservative right-wing nuts’ abject horror over the idea of gay marriage, So a Del Rey licensing deal is in the bag!

Which is by way of introduction to the work of prof Saitō Tamaki, or at least the most accessible bits of it available to us heathens in the chapter on Otaku Sexuality in “Robot Ghosts and Wired Dreams : Japanese science fiction from origins to anime – Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi, editors. Ch 11 pps 222-249.

And an introduction to my main complaint about it.

MUCH LATER: Duh! I ended up hypothesizing a pale imitation of the 1990’s era manga (and later anime) Family Compo [http://tvtropes.org/pmwiki/pmwiki.php/Manga/FamilyCompo] which featured an impossibly sweet trans* family and their recently almost-adopted teen relative. The daughter however has been gender-fluid all her life. She currently likes being a girl, but buddy boy can’t figure out if she is really a she, or if it matters. For an artifact, it is fairly respectful, though full of anachronisms and idealised crossdressing +/or trans* stereotypes. And no moe-blob drawing either.. Wow!

Perhaps you have read my previous posts, where prof Saitō is quoted by other writers as the prime source for the idea that Japanese otaku display extraordinary self-control in  keeping their fantasy lives separate from their real lives. As this is one of the main plot tensions in Genshiken, and because early reports of his work tended to explain this characteristic in a very odd way, I thought I should track a sample of his work down, and this version is prof. Tamaki’s own updated Cliff notes for westerners. The article is well worth the read. As a bonus, we get some updated musings on fujoshi sexuality as well. As a non-bonus, we get something scary.. (NO! not Astro Boy!!!!)

Much to my surprise and relief, there is no trace of Nihon-jiron essentialism anywhere in view. Perhaps the original oft-mentioned “Japanese culture isn’t big on platonic ideals” thing was a misreading, or early conjecture that was dropped. Prof Saitō gets street cred for inventing the term Hikikomori and has spent lots of time dealing with social isolates and obsessives of all stripes. While he is sympathetic to Japanese fans, his opinions carry a great deal of weight in popular Japanese discourse on the extremes of fan behaviour.

“Prejudices about otaku based in ignorance have circulated easily for some time, even in my own field of psychiatry. One typical (mis)diagnosis is that otaku have a schizophrenic personality disorder. (My own opinion is that otaku clarify the limits of the very concept of personality disorders, but I leave this argument for another time.)

Perhaps this kind of misunderstanding should be seen as a symptom of psychiatry’s shift from a participatory activity to a system of observation. I would not go so far as to identify myself as an otaku, but my correspondence with the young people described below has led me into a rather profound relationship with this world—certainly beyond what I could call fieldwork. For all of these reasons, I feel that this record of my observations may have some clinical significance at the present time.

In 2000 I published a book titled Sentō bishōjo no seishin bunseki (Armored cuties: A psychoanalysis). The title names an icon that has enjoyed tremendous popularity in Japan, particularly in manga and anime— the sentō bishōjo. Literally this means “beautiful warrior girl,” though the translation I prefer is “armored cutie.” It seems to me the popularity of this strange image is virtually unique to my country. Many Western series, from Alien to Tomb Raider, feature fighting women, but they are almost all Amazonian women. Until recently the West had almost no works that featured girl warriors in the kindergarten or elementary school range. How did these sentō bishōjo come about, and how are they consumed? My book posed a series of questions along these lines, and I believe it was able to point the way toward some answers. And since it was the otaku who were most in love with the icon of the sentō bishōjo, this book also had to describe the otaku in some detail.

In 2003, as a kind of follow-up and expansion on the arguments in Sentō bishōjo no seishin bunseki, I published a book on the linked motifs of adolescence, media, and sexuality titled Hakase no kimyōna shishunki (The doctor’s strange adolescence). The present chapter is adapted from material in that latter book, particularly the second chapter on otaku sexuality. It summarizes many parts of the argument in Sentō bishōjo no seishin bunseki, though it skips some of the introductory description, for example, on the origin of the term otaku and the evolution of its use. And it goes beyond the earlier work in elaborating my arguments about the issue of sexuality and fiction.”

As you can see, he also invented the Beautiful Fighting Girl trope/ concept, and has a certain understanding of, and sympathy with his subjects’ enthusiasms. So a reader should pay attention; there is going to be good stuff here. take for example his definition of Otaku:

“It may be true that otaku have certain distinguishing features of appearance, but criticisms of these things amount to nothing more than personal impressions. If a critique never moves beyond these kinds of impressions, the critic will never escape the trap of narcissism; in other words, these criticisms simply reveal the means by which the critic sustains his or her own self-love.

This is the first difficulty with theorizing otaku: from the outset all these theories (sympathetic and unsympathetic) have been exposed to these impressions and value judgments. So my own approach here will be to avoid value judgments as far as possible and try to describe the otaku formally. My descriptors for otaku are as follows:

• They have an affinity for fictional contexts (kyokō no kontekusuto).
• They resort to fictionalization in order to possess the object of their love.
• They have multiple orientations when it comes to enjoying fiction.
• For them fiction itself can be a sexual object.”

Two things jump out: the libidinization of Otaku desire (Helllooooooo! Genshiken!) and the deft pre-emptive swipe at any critics which echoes my fave reason why one should be very careful insulting people – it only reveals to the whole world what is in your anxiety closet. Myself, I am afraid of simple, stupid answers, I guess because I am prone to them myself.

As a short digression on Japanese fan desire, his essay misses some of his more interesting ideas about manga style and visual conventions that are presented in his “Beautiful Fighting Girl”  (V1.2?), as updated and translated in 2011. Here from the Mechademia review by Nina Cornyetz (http://mechademia.org/reviews/nina-cornyetz-review-of-beautiful-fighting-girl-by-saito-tamaki/)

“I think Saitō’s book is best when describing manga as a specific semiotic system characterized by “atemporality,” “high context,” and “multiple personality space.” Atemporality refers to the subjective rendering of time, or the suppression of chronological time in the anime/manga diegesis. [7] “High context” refers to how sets of semiotic codes specific to cartoons and animation are layered one over another, to construct a visual space that is “excessively overdetermined in meaning and highly redundant.”[8] Saitō surmises that this multiplicity of monologic codes characteristic of manga resembles that of a person with multiple personality disorder, in that individual characters are partial and incomplete.”

Or to put it simpler, Japanese visual culture assumes that you will pay attention, pick up the hints as the story progresses and doesn’t spoon feed you as much as North American pop culture narrative. Cornyetz also has a bit of a problem with the Lacanian jargon – not for its density, but for its suitability to the task of deconstructing the genre. For now, Otaku Sexuality gives us the “lite” version of most of Saito’s favorite themes:

“…But all of the above are also seen to some extent in the mania of other fans. The behavior that sets otaku apart is the act of loving the object by possessing it. For example, the largest of all otaku events is the Komikku Maaketto (“comic market”), abbreviated as Komike in Japanese and held twice a year in August and December. Here, hundreds of thousands of otaku (many dressed as their favorite manga and anime characters) gather to buy and sell independently produced comics called dōjinshi. Just attending Komike is a crash course in the world of the otaku.

Dressing up and producing these dō jinshi comics are among the activities otaku must participate in to maintain their credentials, something that sets them apart from run-of-the-mill fans. Over thirty thousand groups produce and sell their dō jinshi at Komike, and most are second-order texts, that is, takeoffs on well-known manga and anime. I believe dōjinshi are significant because they constitute an otaku “rite of ownership,” whereby the fans take the works they love and make them their own through the act of parody, which is to say by fictionalizing them even further. Dōjinshi are one crystallization of this activity, though more recently Internet mailing lists and discussion boards have also become sites for publishing independently authored stories. In venues like these that are more text-based than the visual dō jinshi, participants contribute “SS”—original short stories or “side stories” with characters and settings borrowed from favorite works.

The most popular among the dōjinshi are the pornographic parodies in the “eighteen and over” genre. It is easy to hold these works up and proclaim disgust with the otaku, but unless one can overcome this visceral dislike, it is impossible to perceive the otaku’s true nature. As my list of otaku descriptors indicates, the issue of the otaku is one of sexuality, and it is this genre that displays their unique qualities in distilled form. It is not easy to locate a sexual object in fiction itself: that represents a taste for something far more direct than we see in the fetishism of ordinary fan manias. Many otaku actually have imagined sexual relationships with their favorite manga and anime protagonists, and masturbate to these fantasies.”

From this we get a natural digression into loli-smut and the first hint of the fantasy is fantasy/ reality is reality division, with the obligatory reference to that infamous otaku child-murderer, and the observation that he has not been followed by hordes of imitators; so perhaps otaku are under-represented as violent deviants in general society. It is the “normal” drunk salaryman who gropes the pretty lady, Train Man saves her.

Comike(t) also gives him a chance to introduce fujoshi activity:

The first thing to point out is that the producers and consumers of yaoi texts are overwhelmingly women. The majority of participants in the Komike comic market are women (contradicting the idea that otaku are mostly male), and the majority of those female participants are yaoi aficionados. Certainly, the number of gay men producing or consuming these texts is virtually nil. If the desires of yaoi authors are directly reflected in these texts, then how should we characterize their sexuality?

Clearly, it represents a set of desires that cannot be described in terms of the psychoanalytic theory that has defined perversion (tō saku) up to now. What is significant here is again the fact that the imaginary sexual lives of the yaoi crowd are totally separate from their everyday sexual lives. Some contend that one should investigate sexuality by considering actual sexual activities, but I have always argued that today the real or the actual is something layered, something increasingly devoid of any firm foundation. In this situation, fantasies may in fact be the most appropriate material for investigating sexuality. More pointedly, real sexual acts are far too much of an admixture to consider when analyzing the structural aspects of sexuality.

Here, the fact that yaoi fans (yaoi aikōka) and otaku are sexual late bloomers actually works in our favor: because they are unacquainted with the realities of sex, they can pursue these sexual fantasies in a purer form.

On the matter of fujoshi desire (and note that he explained in the work, that he avoids the term fujoshi), Saitō relies of the testimony of a noted, eloquent producer yaoi. But wait: keep watch on the text – the great Freudian signifier is about to pop out, like something through a hole in the screen from an Ishihara novel… cue the signifier

“Enomoto Nariko is a figure who sheds considerable light on yaoi fantasies and sexuality. She is the author of the popular manga Senchimento no kisetsu (Sentimental season), serialized in the weekly comic magazine Biggu komikku supirittsu (Big comic spirits). She has also created numerous dōjinshi under the name Nobi Nobita. As recorded in Sōhyō (Criticism) — an anthology of her critical works she issued herself as a dōjinshi—Enomoto started out as a yaoi author. She became known for a piece of criticism titled “Adults Just Don’t Get It,” its title drawn from the Japanese title of François Truffaut’s 400 Blows (1959). That essay used R. D. Laing’s Divided Self to read the celebrated anime serial Neon Genesis Evangelion (the psychology of which has been taken up even at meetings of the Japanese Association of Pathography). Evangelion’s director Anno Hideaki was reportedly so impressed with Enomoto’s interpretation that when he made the films based on the series, he incorporated a number of details that reflected her ideas…”

[…]

“Distinguishing the sexuality of male and female otaku means distinguishing male and female moe, and there are some evident differences. For many male otaku, the trigger for moe is either a character’s cute figure or the situation she finds herself in. What then is the object of moe for the female otaku who constitute the yaoi group? In fact moe is a term that yaoi fans do not generally use themselves, but Enomoto puts it perfectly when she says that while a male otaku may be “Asuka moe,” a yaoi fan is “phase moe.” “Phase” here represents one phase of a relationship. Let us suppose, for example, that a certain manga depicts a relationship of mixed friendship and antagonism between two boys. This relationship will be the focus of attention for these women fans: based on subtle gestures, looks, and expressions, or on fragments of dialogue, how and when will it move into its romantic phase of homosexual attraction? That is the universal theme of yaoi texts.

Enomoto explains that “male fans cannot experience moe until they have fixed their own position”— an observation that may well have validity beyond otaku and yaoi fans. In general a man fears the undermining of his own subject position, and he must establish that position firmly before he can desire an object. This is probably the fate of all who possess a phallus (as distinct from a penis): if the position and orientation of the phallus is not defined, the male cannot face even the object of his own desire.

The word moe is used by male otaku to locate the agent of that desire. On the other hand, in women that fear for one’s subject position is less acute. When a woman desires something, her own position is not important: she immerses herself completely in the object, and by emptying herself, she is able to take it in. The versatility of this subject position is clear when we consider how she identifies with the object. In the gay sex depicted by yaoi texts, a reader or creator can identify with both the seme (“active”) and uke (“passive”) characters.14 This is why her attraction to a text surpasses that of the male otaku.

This passion manifests itself in a different posture toward the text. For example, male otaku will often debate matters of textual interpretation with one another, but yaoi readers will argue fiercely about the combinations of characters in a parody or the choice to assign a character the seme or uke role in a sexual encounter. The latter sort of debate is unthinkable among male otaku, although both kinds of argument represent the struggle described above to “possess the work.”

Should yaoi texts be regarded as proof of the charge entertained above, the confusion of “fiction” with “reality”? In fact, these fan authors realize that the gay connections between characters in the textual worlds they create could never realistically exist. Regarding the absence of female characters in these parodies, Nobi Nobita explained to me that “when women are depicted, it can’t help becoming weirdly real.” Clearly there is no confusion between reality and fiction here.

Hmmmmmmm I smell echoes of Mishima’s Sea of Fertility again – or at least what I know of it from Rio Otomo‘s criticism. Mishima’s influence is unavoidable in Japanese modernist fiction and his heroic male youth archetype (who reads a lot like a slightly more asocial version of Wagner’s Sigfried) is pure Shonen Jump and always counterpoised against some extreme notion of a protoplasmic dissolving-all-encompassing emotional and physical sensation field of metaphorical gooo in female sexuality.

“I was lost in the valley of pleasure, I was lost in the infinite sea..” –P.Smith

Shogenai..,

Another correspondent invoked by Saitō:

“The yaoi creator Nakajima Azusa has written an analysis of yaoi titled Children of Thanatos, which is interesting as an act of self-analysis by one of the genre’s key players. The book’s description of yaoi has a number of points in common with theories of otaku I advanced in my first book on otaku, Sentō bishōjo no seishin bunseki. First, Nakajima writes that nearly all yaoi writers are heterosexual women with husbands and children and that she has never met one who was a lesbian. This corresponds with my own observation about the scarcity of homosexual otaku. Like otaku, yaoi fans are living out separate sexualities. They lead heterosexual lives, but their fictionally oriented sexuality turns to male homosexual relationships. These fictional sexual objects are not proxies for the real; instead, the space of fiction has a wholly independent economy of desire, a point yaoi fans share with male otaku.”

So far, Saitō’s conjectures and reportage are interesting and nuanced, Unfortunately the veneration of Freud’s demon bones intrudes:  (honking big quote warning!)

“The Origins of Asymmetry

Actual heterosexual relationships appear symmetrical in the sense that the man desires the woman and the woman the man. But as we know, in any male-female relationship, the fundamental orientation of the male’s desire differs from that of the woman. (In that sense, love is nothing more than an exchange of illusions.) We must refer to psychoanalysis — particularly Sigmund Freud and Jacques Lacan — to understand these structural differences between male and female desire.

Psychoanalysis teaches that female and male desire have contrasting makeups from the moment they are constituted. What first gives rise to male desire is the process of symbolic castration. When the father intrudes into the happy sufficient union that exists between the mother and the young child, he severs their connection. At this point the male child discovers that his mother lacks a penis. The mother’s  omnipotence (the omnipotence of the ego) is abandoned and replaced (along with the absent penis) by the signifier of the phallus.

When the male child obtains the primal tool of language that is the phallic signifier, the male child becomes a speaker and enters the symbolic world. By experiencing symbolic castration, he becomes a neurotic subject, and from that point the full range of desires becomes possible. Constituted as it is in this way, male desire has castration anxiety at its heart and must always seek the “object a” lost through castration. Desire directed at the object a incarnates desire as an illusion within the symbolic world, but never reaches the actual object.

On the other hand, female desire arises in a more roundabout way. Women also undergo symbolic castration to become a neurotic subject, but afterward, a woman discovers her own anatomical difference. She moves toward the mother’s position because both daughter and mother lack a penis. In males, gaining the phallus does not stave off desire for the mother, but for females, desire directed at the mother must be redirected through castration. For females, the mark of lacking a penis makes it possible to desire the phallus from the mother’s position.

The male follows a chain of metaphors directed toward the desired object a that he cannot attain. In the process, he constructs the illusion called knowledge. What he tries to possess (e.g., the illusion of woman) is actually a stand-in for the singular object a that perpetually eludes his grasp. And what is the situation for women? They locate themselves in the position of that which is desired by the male, the position of the mother. But this location represents a state of lack. Women can locate themselves only as beings lacking from the symbolic world, where women do not exist, and it is from this position of lack that women desire the phallus they do not have. This is the diametric opposite of the male orientation that constructs illusions.

The object of otaku desire, the sentō bishōjo, or armored cutie, is none other than object a, the girl who identifies with the penis. It is in an effort to become the possessor of these figures that male otaku construct the various illusions around them: fiction/criticism, novels, dōjinshi, and so forth. What is at the heart of the issue here is the reality the sentō bishōjo has by virtue of existing completely within fiction — by virtue of her state of lack. In Sentō bishōjo no seishin bunseki, I described this as “the inverted hysteria of visual space.” There is not room here to repeat all the details of that argument, but in summary it consists of the following points:

1. When a male desires a female, she is “hystericized” (hisuteriika).
2. Hystericization is desire that perceives a two-layered structure to the object: a visible outer layer that attracts or entices, and an unseen deeper level, the object’s true nature (like a hidden trauma).
3. The sentō bishōjo has a number of features that correspond to those of actual hysteria.
4. However, the sentō bishōjo can experience battle (“jouissance” enjoyment) without trauma (such as the experience of “rape” that motivates many “real” fighting women). In this sense she presents the mirror image of actual hysteria.

For male otaku desire, what is important is precisely that the desired object is lacking. If the premise of the sentō bishōjo is that she is fictional and lacking, it is only this that makes her eligible as an object of desire. But the illusionary quality of these warrior girls must have a concretely visual aspect. In the experience of moe, these visual elements occupy a central place, because inasmuch as these sentō bishōjo are objects of desire, they must provide some toehold for the author and reader to identify with them ironically. It is only in the visual dimension that the male can project his image narcissistically on the object. This accounts for the male predisposition to be attracted by physical appearances, and it may also explain the tendency among agents of male desire to supplement their own lack with a fetish.

How, then, does the desire of yaoi readers differ from that of otaku? Here we can directly apply what was said earlier about female desire. It may seem impossible for female readers to identify themselves directly with anything in a gay love story, particularly one from which female characters have been banished. But this is part of the fundamental process that enables desire. In the everyday world, it is by virtue of being the object of male desire that women are able to constitute their own position as a lack. If male otaku feel desire for the lack of the object, in yaoi female desire it is important that one be a lacking subject oneself.

So excluding women from yaoi texts is more or less necessary in order for the reader to alienate herself as the agent of desire. This current of desire, meticulously prepared, is then directed toward the phallic relationship of the men in the text. This phallic connection results from the fact that males, having penises, can take either the “active” seme or “passive” uke role in the sex act. Female penis envy is highly abstracted in these texts; the object of envy is rather the phallic positioning inherent in this relationship. Because of this, women can identify with any character in the story. A woman can never assert her own existence in these dramas of phallic desire, but it is precisely because of this inability that she can attempt an identification that is less limited than that of the male. The actual world contains many examples of this freedom women have as sexual subjects.”

Cixious has dealt with this bias at length, so it might be better to press on. There is something that can be rescued from this all, but the price may be a bit steep:

“It is known that men often form homosocial bonds—male unions that lead automatically to homophobia. The resistance heterosexual men generally feel toward homosexual connections is far stronger than the resistance heterosexual women feel toward lesbianism. On the stage of the imagination where desire is played out, men always try to become the agent of that desire, which is why they try to explain desire’s origins, and why in turn I am writing this. Put another way, men can feel only the kind of desire that can be described.

To all appearances, the desire of women is constituted much more passively. Women do not like to assert themselves as agents of desire, which is why their desire is so often hard to describe. Can one rationally explain women’s taste for jewelry? It is not even fetishism. This resistance to description is directly expressed by the phrase that gives us the word yaoi: “No climax, no conclusion, no meaning.”

As I mentioned, in these fanciful homosexual relations the thing regarded as most important is who has the seme and who the uke role. Among yaoi readers there are fierce debates about these assignments. This supports our ideas about yaoi desire: what matters is the relation between characters and the phase of that relationship.

Consider a slightly different formulation: if we identify otaku desire as the desire “to have,” yaoi desire is the desire “to become.” Extending a postulate of psychoanalysis that “a heterosexual is one who loves women,” we can say that women are fundamentally heterosexual beings. This is in part the reason why psychoanalysis does not regard lesbianism as an abnormal sexuality (tōsaku) but as an example of “acting out.” Yaoi readers are not trying to possess the homosexual relationships in yaoi texts; they are trying to identify with the phallic relationship itself. What permits them to experience jouissance is the form of their desire as a wish “to become.” [emp mine]

Nice to know that Freudian psychiatry, Queen Victoria and the book of Leviticus are in agreement!

“The moe of male otaku is mainly a fetishistic desire “to have.” It is a desire not for reality itself but for reality’s shroud or mantle. For that reason the elements of moe tend to multiply. For example, the visual ornamentation of manga and anime characters is increasing. It is easy to speak about the virtual quality of this kind of otaku sexual love, but it is hard to say the same kinds of things about yaoi. It may be because yaoi identification with the object seems to be constituted far more directly than otaku possession, which is, after all, possession of a substitute. In that sense, we might say that yaoi moe is a far more enjoyable experience than otaku moe is.”

“And I Tiresias have foresuffered all;
Enacted on this same divan or bed;;
I who have sat by Thebes below the wall;
And walked among the lowest of the dead”
-The Wasteland,  T.S. Elliot,
(http://www.theotherpages.org/poems/eliot01.html)

Nope, the quote is ironic mode ON: the original Tireseus got to experience a female orgasm and liked it a lot! His only crime, for which the goddess blinded him, was to blab about the experience.

Guys: avoid viagra, cialis and tantric sex – it will turn you into a woman. Multiple or prolonged orgasm in males is the work of SATAN! That’s why the rotten girl’s fuck puppets are so prone to it!

Perhaps the rotten girls are convinced that our natural propensity to singular climax is what makes us crazy in the head and are trying to give us a gift to fix our sad lack, if only in their fiction?

Omne animal post coitum triste

Perhaps you aren’t trying hard enough…

Saitō then goes on to touch on an even more extreme geek perversion, shota – which he claims has equal male and female devotees, but (thankfully!) leaves any in-depth examination for future research.

(I am either hysterically defending my narcissism here or setting boundaries. Of course I prefer the latter explanation, but I could be deluded…)

The essay then gets back onto productive tracks with a discussion of fictionality and layered readings and possession vs fetishism. Basically the facility for and enjoyment of layered readings keep the possession from becoming too fetishistic – the act becomes that particular desanguinated form of french post-structuralist joy – jouissance, but at least the otaku and the fujoshi are not crazy in the head – they are just cultural producers – in effect writers, mangakas (and artists?) in their own right (though this last word, the dread A-word is never spoken)

Oh well, leave it at creator and call it a win:

“Calling the otaku “creators” will produce objections that most of their work is childish in the extreme: lacking in originality, imagination, expressive skill, and so on. But these criticisms are no more than impressionistic critiques and imagined value judgments. This kind of approach is incompatible with psychoanalysis, but unfortunately even among critics who write from a psychoanalytic perspective we still see a number who are trapped in this kind of narcissistic posture. And from them we hear that tired refrain telling the otaku to “grow up and face reality.”

One can always counter this kind of impressionistic criticism with more of the same. For example, consider Japanese academic knowledge and its insignificance to the world at large (particularly in the humanities). From one perspective the otaku’s knowledge is much more globally relevant than what is taught in our universities. The fact that Japanese anime clubs exist at almost every American university can only bolster this impression.

Japan’s greatest cultural export is anime, a commonplace that still bears repeating. Since Sakamoto Kyu¯ ’s “Sukiyaki Song” topped America’s Billboard music chart in 1963, the only Japanese works to repeat this feat in their own category are the anime films Ghost in the Shell (1995) and Poketto monsutaa: Myu¯ tsu¯ no gyakushu¯ (1995, Pokemon: Mewtwo’s Return).21 The supposed “insularity” of otaku knowledge is a delusion of academics. But even if the texts created by otaku are regarded as childish, it may be a fortunate thing for us. A brilliant work has an aura that tends to stay the hand of anyone who would analyze it, but this is not a problem when we explore the creative process through the otaku. Nakai Hisao famously suggested that a line drawn by a patient and a line drawn by a genius are “philosophically equivalent.”22 In fact, the creative activity of otaku may reveal creation in its most primitive form, because the distance between desire and creation is so short.” [emp. mine]

This is extremely valuable!

You don’t have to be a great artist to be an artist. Joseph Beuys wanted everyone to be an artist, and the western Fluxus movement makes stuff that is so pathetically lame as to blur the boundaries of the definition of “art” in favor of the spontaneity of creation within a social realm. Having no talent or inspiration is no damn excuse. “You have 3 minutes left, I expect a performance piece for the class!

Compared to Fluxus, Japanese visual culture is modular and reproducible in form and content, to an extent that it begs for fan involvement, appropriation, exchange and production. New technology helps grease the tracks (which will be dealt with in the long put off future post), but the urge to productive involvement that makes fan desire so radical is foregrounded in the otaku and fujoshi social, as much as in earlier North American car/ motorcycle sub-cultures and global computer hardware/software sub-cultures.

And to riff on an essay I read 1/2 an eons ago in Analog Magazine (and can’t find the citation for), it was the AK47 that changed war and lead to “the democratization of violence” (a term picked up by Muammar Gaddafi who liked western sci-fi), just as the modular, cheap shoddy IBM pc x86 architecture personal computer (which heh, developed out of the cpm bus board computers as well as the apple II) moved history a hell of a lot more than the $10,000 mac plus did.

Vernacular cultures are more powerful than elite cultures, especially if the tools and rules are cheap, easily mastered and distribution/ exchange channels can be found. I am not a big fan of rap, but I understand its appeal. But that’s for a future post..

Back to Saitō:

Next we get some quick and dirty analysis on Miyazaki:

“Miyazaki saw it [Hakujaden (Panda and the Magic Serpent)] 1958 as a teenager and fell in love with its heroine, then went on to become Japan’s master of the animated image. But from one perspective, his work has a quality of Freudian “repetition compulsion” that is sad. Possessed as a boy by an anime beauty, Miyazaki is fated to produce one charming heroine of his own after another, and through them to support otaku culture. This compulsion that revolves around beautiful young girls (largely absent in Miyazaki’s creative partner Takahata Isao, for example) repeats the initial trauma of Miyazaki’s early experience. This is clearly a chain of transference: a transference from receiver to transmitter mediated by the icon of the beautiful girl. Miyazaki’s inability to escape it is shown by his countertransferent dislike for adult anime fans (otaku), a scorn he makes no effort to disguise.”

Uh that’s a bit cruel, one could come up with a few alternative explanations, but lets let it pass.. Saitō then brings up Takashi Murakami’s superflat  and Azumi’s the database as a prelude to a very interesting take on otaku and by inference fujoshi sexuality:

“Let me then summarize my argument up to this point. There are three driving forces behind otaku evolution: sexuality, the transference from reader to author, and the comic market. Otaku desire (the desire to possess through fictionalization) is supported by all three. We must wait for more concrete research on the comic market and authordirected transference. Here I have focused on the connection between creative activity and sexuality. “

[emp mine again -you should try it yourself prof Saitō, there is a reason people get into making art.. Start here]

The final issue I treat in this chapter is the intersubjectivity of sexuality, or the evolutionary changes in expression that have made that intersubjectivity possible. Naturally, the driving force for sexuality is the “actual reality” of sex. In this sense, otaku are trying to face the reality of their own sex constructively. But this kind of reality differs from the search for a sexual partner in the actual world.

In my book focusing on the sentō bishōjo, I suggested that this behavior was a survival tactic employed by otaku to “resist datafication.” As the illusory notion that “everything can be turned into data” becomes more and more widespread, how can one protect sexuality from the same fate? The answer is to spin out a limitless number of illusions from the single source of sexuality.[emph. mine] The sentō bishōjo, what I have also called the “phallic girl,” is a powerful icon that serves as the medium for these illusions. The most effective strategy against the restricting forces of datafication may be to oppose them with the unrestricted possibilities of illusion, that is, narrative. And I am convinced that an important role served by otaku culture is to preserve illusion’s unbounded character.

Hmmmm… I’ve heard that one before…

“Captain, you’re getting dangerously close to the planet killer”.
“I intend to get a lot closer. I’m going to ram this ship right down that thing’s throat!”

This is the old overload it until it blows up sci-fi trope, and what the heck – it worked well enough in real life to defuse the Frankfurt school’s loathing of mass culture. One stadium filled extravaganza is a Nazi propaganda triumph, but 3 each weekend, every weekend is just the concert, the game or the convention that you are too broke or bored to attend.

The essay ends with a jarring reference once again to shota, or rather a sub-genre; robo-shota (Waughhh! bad things happen to Astro-Boy!) as some kind of point of convergence/ vanishing point/ event horizon of otaku/ fuloshi desire and of course a mandatory “more research is required” , along with a plea to not condemn it out of hand…

(Sorry, must condemn – kill it with fire!)

“This is a desire so thoroughly fictionalized that one hesitates even to call it perverse (tō saku). Before one turns away from its strangeness, it is worth considering the limitlessness of the imaginative power that is fed by otaku sexuality.  Maidroid is the emblem of a sexuality that depends only on these contexts to develop, a sexuality deliberately separated from everyday life. . If narrative is possible even after the “end of history,” that possibility may reside in emblems like these. But in the way they develop, these high context expressions are impoverished in the syntagmatic axis, even as they show such richness along the paradigmatic one. We see this in anime, where the almost excessive variation in setting and character combines with a tendency toward cookie-cutter story lines and ideas. It is for this reason that a high-context superflat space needs some stimulus from outside itself, to destabilize its internal context. Born at the boundary between modern art and otaku culture, the concept “superflat” itself functions as a point at which to introduce that externality. If we have a role to play in these processes, it should not be as critics or as opponents of otaku culture.

We should interact constructively with otaku; we should overcome our resistance enough to offer our own interpretations; and we should work from outside to keep stimulating the otaku imagination.”

Obviously, prof Saitō’s thesis is complicated, nuanced and extremely productive, even as it wears its biases and faults and blind spots (or at least currently unfashionable opinions) proudly pinned to its lapel.

Of the original reason for investigating prof, Saitō; the fantasy is fantasy and reality is reality law of otakudom, we are much further into the depths of how the mechanism supposedly enforces a psychic division of labor. The multifaceted, creative reading and production of endless variations on a favoured theme grounds itself in the realm of the imagination and would cease to function if it was to consciously “bleed” over into the real world. It would be like ordering fast food in haiku and writing fanzines on the park sidewalk. Yet at the same time fictional narratives have a habit of influencing real life, as herr doctor Freud’s work-as-trope proves.

There is a whole lot of useful material and insight here, and to ask Saitō to go a bit easy on the Freud-speak is to ask him to delegitimize himself in the eyes of the rest of his tribe of psychologists. But honestly! There are no lesbians at Comiket ??? Lets all redefine lesbian in a way that is far more violent than my past joke-conceit that the overwhelming majority of women-liking women in Japan were suspicious of the term and wanted some privacy (please!). And guess why they really aren’t lesbian? Cue monsieur Ishihara’s fave trick again.

moe ishihara web

It’s an interesting point of view, but lets not turn it into a permanent cultural festival.

Saitō gets closest to the issue with his emphasis on creative play, but must perforce pretend not to see the huge social element in fan creativity, or at least to view it in an un-social light. After all communication is merely the wielding of the phallus by a neurotic subject, which I guess is why men can’t really have any friends.

The biases in the cult of Freud and those who follow make a detached retina seem like a mild inconvenience. In the land of the blind, the one-eyed man is still short one eye, He does not necessarily get to be King.

The emphasis on layered reading and inter-textuality is productive, and is handled far better than the soulless vertigo of the original database model; it leads to a better explanation/ understanding of the reality is reality vs fantasy is fantasy divide, than any tentative, previous, mis-read or mis-attributed reference to a weak adherence in Japanese culture to ‘western” ideas of a platonic model of ideals. You cannot really do much with the latter, whereas the former is the gooey stuff of high late modern (don’t say postmodern please!) culture, and as such is likely to spread like a virus through all industrial/ “post”-industrial cultures.

Looked at this way, it is the next step up from North American car, motorcycle and home computer building sub-cultures, and on par with social media, electronic music and video mashup subcultures.

And don’t tell me that they weren’t libidinized.

“Says Red Molly to James “That’s a fine motorbike.
A girl could feel special on any such like”
Says James to Red Molly “My hat’s off to you
It’s a Vincent Black Lightning, 1952.
And I’ve seen you at the corners and cafes it seems
Red hair and black leather, my favourite colour scheme”
And he pulled her on behind and down to Box Hill they did ride”
– 
Richard Thompson – 1952 Vincent Black Lightning
www.youtube.com/watch?v=2lCH5JgWCZY

Another useful point of view is the asymmetrical approach to male otaku and female fujoshi consumption of libidinized fan material. Male sexual fantasy is pretty easy to understand: and Madarame makes a good go of it to Saki with his line drawing speech early on in Genshiken. Yup, just cave paintings of beings we really really want but have trouble catching, let alone understanding and communicating with. Saki’s reaction is truthful as well – them damn stick figures won’t help much, and will probably get in the way of interacting with real women.

But Ohno and Ogiue, and later the rest of the rotten girls are harder to fully fathom. Sure, they could be making up for a certain lack, or they could have found a way to enjoy a virtual woody without having to give up a more efficient and far more pleasurable arrangement. Or they could be trying to get back at Freud-daddy and his thick-headed followers, and all the stupid boneheaded sexism that hides stupid unfair, corrupt and ultimately self-destructive patterns of behaviour in a certain society (and ours too). Or they could be trying to, as previously suggested, give us guys the gift of multiple orgasms. Or they could just be wired so that reading about rough (or nice vanilla) sex by fictional males really turns their crank, and then they drape some good behaviour tropes over the mess (reads like romance) so they don’t feel too abject when they look at themselves in the mirror later, and because a good raunchy story is fun to share.

The asymmetry effect could merely be a side-effect of more developed patterns of female social interaction,

While it is true that every generation believes that it has invented sex, it is also true that the amount of smut, and its availability in absolute terms is far greater today than could be imagined by even the most jaded of our ancestors.

We are up to our ears in smut. We have country-wide junkyards full of rusting smut. The smut recyclers can’t keep up with it, the pile of debris grows ever skyward. We have barges and container ships that illegally dump smut, along with worn t-shirts and broken electronics on the shores of “failed states”. The smut concentrations in the earth’s atmosphere have for the first time in history exceeded 400ppm!

Houston we have smut!

Why can’t the rotten girls customize theirs too?

The rest of the book that this essay is contained in (“Robot Ghosts and Wired Dreams :Japanese science fiction from origins to anime”) goes on at length to describe how Japanese science fiction was used by many writers, including women writers, to highlight social contradictions and play with alternatives. Could a theory of vernacular fiction/ narrative and social change be more productive than an orthodox Freudian psychoanalytical approach?

Fairy tales do not tell children that dragons exist.
Children already know that dragons exist.
Fairy tales tell children that dragons can be killed.
..might be a misquote of Chesterton, but it is snappier.

A Freudian approach to fujoshi desire constitutes female desire as a lack, an engulfing void that seeks to absorb the absent phallus – symbol of female lack and flaw, and as such experience imagined male sexual play from an undifferentiated, multiplicitous point of view, absorbing all into a subject-less vortex of sensation, or something. It also drapes a lot of dissimulation and elaboration over the crude metaphor and metonymny that is at the heart of the the Freud myth: Woman as castrated male, and as hole/vessel, orifice that engulfs the male member, and guardian of the chthonic wound from whence blood issues monthly and new life springs forth from pain and gore.

“Here’s to the hole that never heals!”

Go too far with this, and you can end up like Apollo in the Orestia’s The Friendly Ones, reduced to gibbering to a jury of Athenian farmers that the female of the species is only some kind of container full of potting soil that adds nothing to the life that develops during pregnancy. While Church philosophers a thousand years later took this as “natural philosophy”, the 600BC Athenian audience hooted with laughter at the fine corner Athena had backed her stupid, arrogant brother into. Even he realised his fuck-up and shortly after left the “trial” in a huff.

Prof. Saitō: what do you make of m-preg yaoi stories? Are fujoshi texts trying to impose a revenge of pregnancy upon males? Are they “gifting” their imagined male creatures with something they lack in real life, much like the aforementioned multiple orgasm digression? Or are they playing with an even greater horror than their violent pseudo-homosexual coupling? Male pregnancy is something deep in the collective male anxiety closet: viz Cordwainer Smith’s “The Crime and the Glory of Commander Suzdal” – a well-crafted nasty little homophobic nightmare straight out of the pop psychology anxiety closet. (http://en.wikipedia.org/wiki/The_Crime_and_the_Glory_of_Commander_Suzdal
and
http://bookos.org/book/284287/c1d64f )

Intelligent cat creatures created in the wink of an eye, locked in eternal battle with a world full psychotic pregnant faggot-bogiemen bent on exterminating all women from the galaxy. Little surprise that this tale was the product of the writing hobby of the man who helped develop the concept of “psychological warfare” for the allied war WWII war effort.

These are all elaborate narratives built on very shaky chains of metaphor and association; they make for fine tales and myths, but sin against William of Occam’s simple prescriptions for making sense of the world.

Perhaps an alternate reading could be suggested by the dismissive comment of another critic of fujoshi practice; “that the girls are all just playing with dolls“. But one underestimates such play at one’s peril, for is not such play the stuff of high modern literature? Or is the third-person omniscient narrative, with jumps to multiple, sometimes conflicting and unreliable first person points of view not seen as the height of the contemporary craft of the novel?

Fujoshi desire is simultaneously the view of the goddess and the view of the void – a trick that matches and possibly one ups Job’s inscrutable big-papa-in-the- sky.

Then the fujoshi spoke to her sisters out of the whirlwind. . ..

The girls are better at multitasking, just as we are better at fixating on one thing to the point of obsession. Of course your mileage may vary and a sound exercise regime can help in levelling the differences. Guys – multitasking won’t turn you into someone’s bitch, though it may turn you into an employable telephone tech support worker. However your brain will hurt for the first four months.

And as a further aside; someone must be able to make sense of a women’s (or men’s) taste in jewelry, otherwise how could so much money be made on the exercise?

Multiplying entities without necessity is an act of love, not an act of science. (TM)

As for the escapism or coping mechanisms that the libidinization of Japanese visual culture provides, one would be remiss if one failed to note the very real social, economic and generational pressures that bear down upon folks in Japan in this particular moment in time. The old models are not working too well for anyone, unless you are really rich or retired with a good pension. Or does the search for the Lacanian “object a” explain the Japanese invention of the Love Hotel?

Demographics and economics have as much to offer to the understanding of otaku and fujoshi behaviour as strategies of layered reading and creative consumption. Even Lacan understood that post WWII France was something different from Freud’s fin-de-siecle Vienna. (hence the shift from incest taboo to the dead- father- as- the- law). One may also add that Freud didn’t have a monopoly on castration myth-spinning; That we don’t have J.G.Frazier-ian psychoanalists (we might get some Jung) is only an accident of history. We could be all reading that the otaku and /or fujoshi secretly want to slaughter all their psychic competitors to become the symbolic king of the sacred grove at Nemi, even while knowing that their reign will be short, and end in their murder by the next fool… All while they are powerless to escape the ritual of the sacred and the sacred nature of the ritual.

As per a previous post:
Hermeneutic: any narrative scheme works well enough if internally consistent; if we are lucky it might be useful under some conditions.”
Also
Repetition, aka: Invoke often, use a bigger hammer.”
https://heartsoffuriousfancies.wordpress.com/2011/09/19/the-laws-of-magic/

If this stuff was repeated daily for the last 100 years by an ordained clerisy dedicated to helping you make sense of the weird crap that your wetware throws up at you, you would fall in line and structure your angst accordingly. No wonder Scientology is trying to muscle in on the action.

Add to this the powerful attraction that Freudian just-so stories have to any lazy hack writer,scriptwriter, songwriter, playwright, screen-writer, mangaka and poet over the last century and the tropes of the mythos become inescapable; to the point of folding in upon themselves as parody and meta-fiction. Want some Freud “anal phase” narrative? Check out the scatologically excessive animated Korean masterpiece Aachii and Ssipak! I have always wondered what would happen when a fully fledged Freudian / Lacanian analyst got his hands on this one.

Otaku Sexuality
As the repair guy opined in “Brazil” – ‘we’re all in it together!”

Closer to psychology’s home turf, I also wonder about the lack of research connecting the otaku personality with ADD and aspergers syndrome. A large part of the otaku thing could well be a socially mediated response to biochemical variations in the brains of a certain subset of the population. A hundred years ago they would have all made great craftsmen. Perhaps given the great fear of amphetamines in any form by the Japanese government makes such a diagnosis useless? No ritalin for otakus!

Perhaps I need all this to keep my narcissism going full blast, lest the “insert lyrics from a song from the doors here” jeebies gets me at night. Could be, could be, rabbit… But I would also hope that one could pry a few more useful insights from the exercise. As with all my reviews that so far have flailed away against the violence of the Freudian mythos, I would urge that it is time to kick the ladder away, leave behind the bogies, and preserve the insights that are grounded in hard work, and real life interaction with real folks.

Of the latter, prof Saitō’s work contain insights that shine, and will doubtlessly yield even more in the future.

I’m just a bit annoyed to see the good stuff marred by a mean-spirited and ugly superstition that supports the oppression one half of humanity by means of a half-assed just-so story. It is Eve cursed by original sin, it is a secular pseudo-religious superstition,

It is like listening to an antebellum white southerner justify slavery.

It is unworthy of serious scientific endeavor!

Stop it now!

Time for a yaoi dojin along the lines of “Even a monkey would get annoyed with Sigmund Freud” – Something like 20th Century Boys… The two illustrations in this post are from Monkey Business – the Idiot’ s Guide to Tokyo’s Harmful Books Regulation, a fine example of otaku agitprop. See: Even a monkey can understand fan activism: Political speech, artistic expression, and a public for the Japanese dôjin community by Alex Leavitt http://journal.transformativeworks.org/index.php/twc/article/view/321/311