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.

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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”

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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.

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

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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.

A cat is fine too

Mada almost lost his shirt

Harunobu Madarame almost lost his t-shirt

(mild ch 111 spoilers follow…)

Worse, the Lucky Perv moment has passed not only without a man-smooch but without the long-awaited full-page floral background character portrait of either Hato and/or Madarame. Kio Shimoku sensei; how long do you think you can string your fans along without this tiny but essential bit of service?

I will accept either. I will even accept dopplegangers in Spotted Flower.

not a proper floral chara pageNot quite what I had in mind.

I will not be forever denied!

Perhaps I need to start a day counter page or something: 2,682 days without a floral chara portrait page…

I will have to change the name of this blog to “Why No Floral Chara Portrait Pages of Hato or Mada in Genshiken ???” , abbreviated as WNFCPPOHOMIG???

Kio Shimoku swears that he fears and abjures reading the fan commentary and fanfiction surrounding his creation. Such a statement is at best perfunctory: the levels of truth value, effect and shades of influence can be slippery once a fiction gets loose in the wilds of fanspace and takes on a life of its own. Weird stuff happens. I dare the author to remain oblivious. So far the dog might be yelping a few times per night, but it should be barking a lot louder.

So I vow to muck with the Genshiken fan-space-verse-headcannon-thingy until I get my floral chara page. Like floating transparent pink elephants in unnatural congress with cartoon unicorns, I dare you to unthink them once mentioned.

Which is by way of an oblique entry to another take on the auteur’s problem with fans. On one hand, once “invested”, fans want a story’s characters to perform in ways that they find satisfying. This can range from a happy ending, to behaviour, to the implementation of any number of plot cliches and tropes – all familiar and comforting to the readers.

For example; a full page, floral background chara portrait would…

If the story and /or characters poke at some larger issues that may reflect IRL concerns, more than a few readers and bloggers (including your truly) will burn too much powder on mapping loose congruences between the story verse and meatspace; especially if these have either to do with politics, religion, gender and /or sexuality.

On the other hand, fan imagination and secondary production; the theft/ appropriation of a story-verse for fannish exploration, amplification and elaboration all demand that the author leaving enough gaps, “space” and unknowns for fannish hearts to run wild in. Hence Comiket. Sure you can go postal on your intellectual rights, but then you don’t get any community or the marketing boost that comes from it. You lose the Love.

Even in Japan, the author, like the impossibly mythical Secretary of State, will disavow any knowledge of your action. Good Luck Mr Phelps. This mangaka interview will self- destruct in 5 seconds.

It is fun to read the fanfiction that grows up around the edges of an established and well-loved story. After a while, one can even get used to the slash-y (and/or pr0nish) nature of some of the output. Then I start wondering about patterns.

Fieldwork sitrep: Genshiken fanfiction is mostly too conservative. Even in its excesses it is either too simpleminded (Ohno or Ogiue get much pr0nish attention) or overly cute (HatoMadaHato make a sweet domestic couple). Yes, we all wish the charas well, (except when we want to see them hot and bothered) because like many other readers we want to see a happy ending that matches our own properly progressive IRL senses of self (without actually having to deal with messy real humans in meatspace), but Jeesh! Yawn! and C’mon! HatoMadaHato is never going to be Collectors, or a aspirationally positive LGBTQIA-lite version of Spotted Flower.

One wants the fanfic stuff to be just a bit over the edge in a weird or funny or innovative way. So far, Kio Shimoku and his studio minions are greedily winning the weird-a-thon in the fan-fic-verse. This is either cause for acknowledging the powers of le maitre or a bit of a failure of fan imagination.

lust und figurines

Consider the infamous Genshiken anime second season Yaoi episode (ep5). The wall of anime figurines and fine liqueurs,

the louche couple

Louche anything-that-moves Saki and Kou, SassXMada with Ogiue steaming as she winds her fancies about her.

Ogiue bliss

I also await the translation of the long-suppressed “The Return of the Otaku”. I think it at least had some Aliens, Time Travellers and Espers tomfoolery in it.

This is preposterous! Kio Shimoku has written better Genshiken fanfiction than his fans. Genshiken is all about fannish production, one would think that more than a few of its followers would get in the mood and start drawing and scribbling. A few do but want moar!

While chasing down some musings on Genshiken at wildgoosery.tumblr.com, I spotted a link to a bit of fluff by someone nymed Zpolice. I might have to reg up a pixiv account to see more of the HatoMada crossdressing date. The teaser illustration looks cute. Gotta admit that the fan-drawn Mada-chan has a real shoujo-ish vibe – I smell Uso-Lily-fluence. Main point in its favor: it shows some imagination.

With cable-tv’s backlot discovering Ho-yay, the mainstreamification effect is even more pronounced. USA cable viewers can watch all manner of gay positive retreads of 60’s social comedies. Meanwhile the grey lady, the New York Times has started running a Transgender Today series on the Opinion pages. The right -wing bible thumpers warned us this would happen. Next thing you know, blah blah blah… (time to smarten up and get serious, these are real lives here – must show some respect) Contemporary Japanese Visual Culture is suddenly feeling dated and musty, like Miss Haversham’s wedding table.

I am beginning to miss the Stands.

Oh, right: mess with the fan-cannon until I get my damn floral page!

“All women become like their mothers. That is their tragedy. No man does, and that is his.” ― Slavoj Zizek, “The Importance of Being Hegelian

Given how much fun Yajima’s mom is, what is Hato’s mom like? Massive bonus weirdness points if she looks a bit like Kaminaga. What if almost all the women in Hato’s town look like Kaminaga… (cue shining music)

Wait, order now and we’ll include:

What if Hato’s dad used to have a certain hobby? What did he look like crossdressed? Crap, (cue shining music) almost everyone, female or male in Hato’s town should end up looking like Kaminaga because of the weird rituals that call forth the eldritch horrors from beyond the colors of space-time each Walpurgis night – you do not want to be an outsider trapped in Kashukumaou over that weekend!

…Until…

…Instead of waking the sleeper in the pyramid, they summon up an infestation of telepathic, teleporting cartoon ducks who seem to live only for prying into human affairs, ruthlessly ridiculing them and popping into existence at mealtimes to swipe food – they love human food and booze. (per C.Smith, From Gustible’s Planet ).

“Do you eat this? It is not very good! Phhhtttthhhhttt!”

Just throwing out ideas here folks. I miss Sayonara Zetsubo Sensei, it was full of this kind of nonsense.

At least the 20+ year old Stop Hibari-kun! shows that one can have some fun with gender issues while not being overtly vicious. The last character addition is even more fun than the Bifauxnen sports star with ill-defined longings, a Taka mom and Village People brothers.

Read powerful manga web

Swiped right out of Family Compo, Geki (taiga-chan) jiro-kun has the heart of a manly guy-hero trapped the wrong body, determined to achieve an ideal of male-ness based on 1970’s gekiga guy manga, (see Otaku research and anxiety about failed men – Galbraith(1)) complete with delinquent haircut and yankii attitude. Pity the series will remain abruptly unfinished for all time.

hormones gekikun web

Risa! Wheeeeerrrrre arrre youuuuuuuuu?

Meanwhile, most of the diaspora talk about Genshiken (including my own in this blog) have been mulling over the “wither Hato” question, with regards to it resonance with larger issues of meatspace sexuality and gender.

Take for instance this extremely cogent summation of the argument in favor of emerging trans* Hato

“”Hato lives in a culture very different from ours and struggles a lot with their identity and doesn’t fully have the resources to accept themselves as trans yet, but as an omniscient reader you’d have to deny a lot of evidence if you wanted to read Hato as cis.

Even very early on, they were buying feminine clothing and doing vocal training a while before they started attending the club, they said they didn’t want to change in the club room b/c they wanted the club members to see them as a woman as much as possible, they expressed gender dysphoria when facial hair started to grow in while presenting as female, and they said Kaminaga was always someone they aspired to be. When Hato stopped dressing in feminine clothing, they became very unhappy and the manga treated it as a complete denial of self, and they felt compelled to keep up their feminine body care regimen even while presenting as male. If Hato were merely crossdressing, I doubt it would be handled in this way. And of course let’s not forget Spotted Flower, where Hato was shown post-op. It cannot get more obvious than that.

Anyway, I was just surprised to see this post and thought I’d talk about it a little since someone brought it up.””

– posted at http://hatomada.tumblr.com/ as reblogged excerpt

And yup, you gotta admit that it pretty wells nails a lot of the usual indicators, unless Kio Shimoku just read a whole bunch of pop-lit on mtf transfolk, cribbed it and jammed it onto a chara that he had other plans for.
.

Must I mention freight trains again?

(I have been looking for an excuse to drop that venerable ancient AMV chestnut into this blog for ages!)

Besides, Why should I give up on my original hobby horse of Hato-chan the virtual rotten girl lesbian in the Genshiken? (Invoke together: There are no lesbians in the Genshiken!) Mada cruelly rebuffs Hato-chan; fly to Sue’s arms for comfort! Sue would be ok with a Hato-chan romance once she is sure that she doesn’t have to gently protect Hato’s fantasies. Sue is mighty! Sue is always there, looking at Hato. (Not quite creepy, yet…) What is you waiting for kiddo- an engraved wedding invitation?

Yeah, I ship SueHato and AngelaMada, you got a problem with that?

tainted web

Or I am just in denial about the possibility of man-love (or MtTW warm fuzzies) in the Genshiken. Atavism, moi, darn.

On the other hand…

I cannot resist a rejoinder to one of Wildgoosery‘s questions:

“I honestly cannot tell what’s going on inside Madarame’s head at this point. And I get the feeling that’s intentional — that we’re meant to understand that HE’S unsure of what he wants. Undeniably, he’s interested in women and in sex with women — the ongoing tension regarding breasts, Keiko’s or otherwise, makes that that pretty unambiguous.

But there has also been so much time on the page dedicated to his emotional and sexual reactions to Hato — and to the IDEA of being with someone like Hato — that it’s honestly taken me by surprise. While Keiko and Angela — and even Sue — have appealed to Madarame for reasons that center on their appearance and/or anatomy, the way he thinks and talks about Hato has been so much more….god, I hate to even say this because I know it makes me seem like just as much of a fujoshi as Yoshitake, but more ROMANTIC?

Whether it’s being overwhelmed with happiness over valentine’s chocolate or replaying all of his trap h-games, Madarame seems to be taking Hato’s interest…kind of seriously? The whole reason that Kugayama dragged him to the cabaret club in the first place was to convince him to stop considering Hato as an option.””
– http://wildgoosery.tumblr.com/post/112614213163/first-off-to-be-clear-none-of-this-is-intended

Yup, Madarame Harunobu is far too naive, too shy, too good-hearted, too open and full of holes to ever think of playing with the Hatos. He would never, even unconsciously engage in … baiting, or a little bit of turnabout is fair play, would he?

If Madarame was considering a smooch, one has to give Kio Shimoku credit for dragging him to the edge of the cliff in a very manly way. Mada finally taken the initiative and gets his moment of forceful action, even if all the rotten girls go Squeeeeee.

After Sou-uke, Sou-uke, Sou-uke, first from Ogiue and Ohno, then Hato  letting go with public Sou-ukes to block Angela, then Kuchiki going into ass-grabbing fugue state, then the whole new club membership including Hato-chan reprising,  the spying session, the ritual dragging him off in public for Angela at the last Comiket, the broken wrist, the sudden harem nonsense only after he gets to stew in injured ronryness for a while (Risa delivering the moratorium news over the New Year’s holiday), Hato Nadeshiko, Valentine’s chocos and then phhttt, vanishment(!)… After being the Genshiken goat for so long, after reacting, reacting, reacting and trying to cope with all the nonsense situations thrown at him, with  the Hato continuum front and center through most of them, Madarame finally lands on top!

(He did consider coming on strong towards Sue. She dealt with that fast enough.)

Dumped again? Sod that – it ain’t over till I say it is over. Oh, but pretty boy here thinks HE’s gonna be the top, yeah… How’s that working out for you kid?

Boobs boobs boobs, whatever – Lolicon, remember? Imaginary and flat like board. Pre- as well as innocently a- sexual, with a bit of fancy footwork to get past squicky pedo-bear concerns by edging over into Josou game territory… Please tell me Kenjiro Hato, who is the most innocent, doe-eyed, manipulate-able, fantastic and uke-sh in the room tonight? Where is all that judo you keep up your sleeve? What’s wrong; fantasies got your tongue?

Which all might be some sort of cliche’d rotten girl plot chestnut, but still has enough internal logic to propel it along. And sure, I would agree with Wildgoosery’s proprietor if Hato chan or kun had actually even once dropped shields and talked with Madarame as Hato Kenjiro, kun or chan. But it never really happened. From their initial Mada-cooks-dinner meeting onward, any words that flew by Mada’s face from Hato were all part of one or another Hato puppet dance. (I might grudgingly exempt Hato’s first Comiket morning with Mada, but then he started Sou-uke-ing Mada in front of Angela) The strangest thing about the whole accidentally- pin- Hato- to- the- bed scene was that Madarame finally got to talk to the Hato behind the curtain.

Or did he? 

Two points for Mada. I guess the frisson of man-love is acceptable if you get to be in control? Dude.. are you sure you weren’t set up? Oh well, I will grudgingly accept a man-smooch involving Madarame – archetype and stand-in for all us awkward nerds – If I get my full page floral portrait!

I might be easy, but Kio Shimoku wants cheap too? No way!

Contrast: at a similar point in a certain Sect, the player gets a ring as a reply to her teasing. Folks said it was all just yuri pr0n. Hmmph!

Meanwhile, I for one welcome the new forceful Madarame. Sue was right to bring handcuffs. Girls, you have created a monster.

All harem routes must be cleared! If it wears a skirt (ever) it is fair game! The Revenge of the Otaku! Devastating Mada, the heartbreaker unleashed! That means you too Rika – yo skinny ass are belong to us! …And your pedo bear sister’s too.. Circle King will get all the girls and destroy Genshiken!

BoooWaaah!

Keiko will be a bit of a challenge: screw and dump her without the right kind of dramatic bullshit story and she will set you up for a beating from bouncer ex-boyfriends or a “chance” seduction by a skanky(er) friend with the clap as payback. Bad girls play rough.

Meanwhile that’s three up for Kio Shimoku. No tracking distraught Hato to the train station and replaying Ogiue/Sass as dawn breaks. Nuts!

Best to ease off on the playset levers. The circle trip arc is fun enough with the exercise of watching how other fans react to it. I note that some of the respondents in a senior bloggers’ discussions on recent chapters are wondering how the Japanese fans are taking it. Need to Know! Finding and adding other fans’ takes on the recent chapters is a great POV-shifting exercise. I am tickled that I completely missed some of the takes on Hato’s behavior, Madarame’s conflicted actions and the rest of the chara’s maneuverings, even while many of us spotted other similar trends elsewhere.

This of course is how fannish interaction and exchange works, even anonymously and over great distances and time. In the larger scheme of things, what x character thinks of y isn’t really that important, but understanding how to consider (I didn’t exactly entertain the notion, I just gave it a glass of water and an after dinner mint) others’ points of view is a fine diversion.

So yeah, missed this convincing take on the harem:

“Madarame, good as I’m sure his intentions are, has put Hato in a really shitty position — by allowing this “harem” to continue for so long, he’s set Hato up to be in direct competition with three women, two of whom are so much more experienced that they may as well be from another planet as far as Hato’s concerned. So of course Hato is doing everything he can to perform femininity as perfectly as he can manage — those are the terms that have been set for him.
There’s no escaping his total lack of experience with sex and romance — the only thing he can control is how well he performs the role of cute, female underclassman. But even in that, Hato is way out-matched — the bit about his accidentally getting Kuchiki much too drunk, for me, was shorthand for “you are in way over your head, even in the ‘giggling and pouring beer for men’ department.”

Still, he’s trying his best. Madarame has given him very little indication that he has any other choice.”
— http://wildgoosery.tumblr.com/post/112614213163/first-off-to-be-clear-none-of-this-is-intended

Note: WordPress is taking my links used as attributions and making frames that insert  sections of the quoted source into the posts. I am trying to figure a workaround, in the meatime – no appropriation is intended, and you may have to copy & paste to open a link manually.

Yes; Shimoku-sensei lampshaded this, but a fen take on the setup is 180 degrees from the male fan point of view: the whole could be trans/ could be crossdressing late onset chunny-fugue Nadeshiko act by Hato looks so far above the feminine presentation abilities of the core female club members as to seriously pose a challenge. Sue is non-committal and will never flirt, Keiko- well Keiko is Keiko, so for guy readers, Hato-chan was really coming on strong. The only serious challenge was Angela – and only if she would ever tone down the carnivorous Amazon act, but again, she only pops up a few times a year.

Note that both points of view are equally valid. Digesting both is a treat for any infovore.

““Even if I might just be trying to force my own desires… All of our desires are just things we force on others anyway”
-Hato, Genshiken ch 66

Remember as well that Kio Shimoku loaded the dice long ago. Even if and when Hato finally ever realises that the Hato continuum was always a woman’s heart trapped in a man’s body, comes out and decides to transition and is treated in a positive and respectful manner by the entire Genshiken (that means no more shipping Hato, there would be no more male residual to ship); If the IRL concerns over respect of the fans are finally and fully addressed, do you think that the fan peanut gallery is going to shut (TF) up?

Fat chance: Hato is still a “fantasy of crossdressing”; too easy, too perfect, presented as as ideal cartoon transwoman while meatspace youth facing real challenges agonise over whether they can ever meet such unreal levels of presentation. Kio Shimoku isn’t off the hook yet. Look at some of the more respectful manga on gender issues. The “so cute she can’t be a girl” model is always a land-mine.

Hato might be better off sticking to their original mission: becoming a fujoshi (and/or a trans*fujoshi). Being fujoshi is Hato’s real and only one true love. If the Hato continuum ever really and truly falls in love for someone, the fallout will be a lot messier than “I am not the otokonoko you think I am, chose someone else“. Shimoku-sensei is weak at doing heartache. Time to dress like Sue or Ogiue, or even civilian Keiko, or stick with the frumpy Mikako Takeya persona. On the other hand, the Hatos’ insistence on an idealised presentation could – I guess – be sorted into the “arguments for a trans identity” column (dreams of an idealised female self).

And here is one final new yet old twist on HatoMadaHato that will really rile folks up: Consider the original complaint of Akio Nakamori’s second article in the July 1983 issue of Manga Burriko (per Galbraith op cit) “Do Otaku love like normal people

“No, otaku do not love like normal people because they are attracted to fictional girl characters” -ibid

Don’t go there…

Note that Nakamori did not invent the term 2D complex, but he was the one who first dragged it out into the light of Japanese public discourse and stapled it to manga-maniacs-as-otaku in his infamously vitriolic  Otaku studies/ I am studying you column. And then he went on to paint this as the prime symptom of male otaku’s failure as men, calling them “myo ni okama-ppoi” or weird/ faggy. And then he conflated them with effeminate crossdressers, while his underaged girlfriend made eyh-yeuchh noises.

Clearly there is a lot more baggage hanging off HatoMadaHato than the euroethnic reader can first take in.

This is complicated. Which is part of the whole fan-space POV shifting/ sharing thing.

A full page floral background chara portrait would do much to allay the feelings of confusion…

…So would an action-packed fanfic of the circle on the run from the Kult of the Kaminagas and supernaturally animated 1962 era vintage Howard the Duck prototypes.(2) A few zombies would be kewl too…

Braaaaaiiiins !!!

…Or this whole post is too random; the shock of seeing Mada almost smooch a boy has obviously subconsciously upset me.

I wonder what Kuchiki is going to say in the morning.

.
(1) A recent chapter; “Otaku Research and Anxiety About Failed Men” by Patrick W. Galbraith from the upcoming anthology: Debating Otaku in Contemporary Japan: Historical Perspectives and New Horizons (Soas Studies in Modern and Contemporary Japan) Hardcover – July 16, 2015 by Patrick W. Galbraith (Editor), Thiam Huat Kam (Editor), Björn-Ole Kamm (Editor), Christopher Gerteis (Series Editor) should not be missed. Grab it here: [www.academia.edu/12327055/_Otaku_Research_and_Anxiety_About_Failed_Men] and read it now. The writing is straightforward, lucid and reflects up-to-the-minute understanding on the material. Madarame (and Hato) are deeper character types then we first imagined. Lots of good stuff on the historical roots of the rage of the Ota-king, the shoujo-fication of manga, the role of japanese fen-dom and complicit guy editors, and much much more. The full book is a bit pricey for moi; guess I will be pestering a local library soon. A few more chapter excerpts are available via Academia.edu

(2) Where ya think Howie was swiped form, along with Martians Go Home (1954) [en.wikipedia.org/wiki/Martians,_Go_Home] The Kaminaga Kult is a blatant lift/ tribute to Stross’ Laundry series, especially The Apocalypse Codex, which you should hunt down and read, because they are massive fun and clearly Stross’ first love; they don’t go flat at the ends like his other stuff. Ps: brown as in “Dun”

On heroes and hero worship

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

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

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

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

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

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

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

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

With the lights off, it’s less dangerous…

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

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

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

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

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

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

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

Low res is best res

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

Oh no I said a dirty word…

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

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

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

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

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

It’s fun to lose and to pretend…

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

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

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

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

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

Falling for an avatar

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

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

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

The boy only falls for girl heroes.

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

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

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

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

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

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

She’s overboard, she’s self-assured…

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

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

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

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

In the end there is no such thing as leadership…

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

And now for my next trick..

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

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

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

She displays an internal “moral” code.

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

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

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

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

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

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

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

Mada wants!

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

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

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

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

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

I’m worse at what I do best…

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

Is this some new form of manzai?

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

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

And comedy of fail is maintained.

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

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

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

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

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

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

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

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

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

All right, God damn you! I challenge you,

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

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

I give you a wall table at Comiket !!!

That would be overdoing it even for the Genshiken…

I feel stupid and contagious…

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

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

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

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

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

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

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

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

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

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

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

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

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

What of Keiko?

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

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

What of the rest of the Genshiken girls?

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

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

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

Ritsuko Kübel Kettenkrad-sama watches over us

Ritsuko Kübel Kettenkrad-sama watches over us

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

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

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

And then we would have room for some new characters.

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

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

I could take care of that for me

“So now that we’ve established that it’s okay as long as they look like girls, can someone recommend me some really good doujin?”
– Slavoj Žižek (on discovering an otokonoko thread on 4chan’s /a board)

As class-S girl-crush romance and fujoshi desire became the two main (and sometimes competing) enthusiasms available to young Japanese women in search of a safe venue for a bit of “getting out of hand“, the otokonoko/ josou genre appears to have found a complementary place in the hearts of male otaku, over-taking an earlier fascination with loli moe-blobs – first in Japan and then across the globe. Correspondents have noted that I have missed more than a few milestone manga, anime and games in the genre and even in its related manifestations in 3D hobbies. Well, I’m sure they will pop up when and if I am ready for them. Ain’t modern Japanese culture wonderful?

Careful lad, ya might be getting in over your head

Oh brave new world that hath such creatures in it! 

One thing that makes trap-genre josou genre (per previous, best to eschew the use of the insulting vernacular term) more attractive to the average otaku (Japanese or diaspora) is that the otokonoko avoids, or at least displaces the problems of the loli genre (though there appears to be significant bleed between the two). By “bringing home” their edgy, transgressive fantasies to a male-exclusive realm that is also further removed from 3D real-world correspondence, the otaku can at least push back the lurking shadows of “a certain bear“. According to the essay at Girl Comics (http://8c.dasaku.net/?p=96) (now wiped -try The Archive) the genre is fairly new: the example discussed developing out of a failed yaoi effort in 2006.

Real-life 3D members of the trans community find the genre obnoxious and insulting as all heck, but most pornography insults and offends some one. No offensiveness, no thrill. Some western fans play the bonus rounds in the shock and offend game like a pro sport, as can be seen in a sampling of the comments from recent otokonoko threads on 4chan’s notorious /a/ board:

>It’s not gay if they look like girls.

>It’s a girl penis. Plain and simple. Nothin’ gay about that.

>We haven’t derailed into discussing thermodynamics or convincing another Anon to have a threeway with a bunch of senior citizens. We’re getting there.

>How can you tell she loves you if she doesn’t have a raging foot long erection?

>So now that we’ve established that it’s okay as long as they look like girls, can someone recommend me some really good doujin?

>I never got the point of having this argument. Can’t you just fap to what you want? This is /a/, no one is going to give a shit if you’re gay or not.

>You still feel bad afterwards though. Also, it’s not gay if you wouldn’t do it in real life.

>Apparently your fetishes and what you wank it off to has to be labeled straight or gay.

>It’s because it disinters the repressed sexual urges you have for your mother.

>Oh fuck, no wonder. Thanks, Sigmund!

>Look it’s not gay to fap to girls with dicks, alright. You’re just fantasising about something feminine that has a little bit extra, nothing wrong there. It’s massively homo to think about sucking and getting fucked by said dicks though, and I’m way past that point already.

>But you’re still attracted to girls in real life, right? Right?

>Hey, anons. When it’s wearing a dress, it’s a girl.

>I want to fuck Rui’s boypussy!

>You want to fuck a tranny? gross!

>I think he’s cuter like that. No homo.

>It’s still gross but boypussies and dicks are way more pure than pussypussies.

>Where the fuck do you think you are? How do you accidentally stumble into /a/?

>It’s too late for me Anon, save yourself now.

>I can’t choose between yuri and girly boys, it’s too difficult.

>I bet you fags look at the tags before you fap.

>lol that’s such a profound statement I’m tempted to screencap your post for future re-posting.

>Girls can have penises, idiot. That’s how the manga makers draw them. It would be gay otherwise but it’s not. Female body + dick = female!

>Besides, feminine dicks are the best kinds of dicks.

>Get out of here you twink!

>Traps=/y/

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

>Degenerate you can’t even make your sexuality public without being hated.

>I like being hated.

>Do you read trap material because you want to fuck traps, or because you want to be the trap?

>This really is the best birthday ever. It’s not actually my birthday.

Vox populi, vox dei.  /a/ is of course the general anime forum, /y/ is the yaoi forum.

There is an art to the anonymous postings of 4chan and when a good run of shocking, provocative trolling and witty repartee gets going, folks are going to favor style over substance. Still the point is made, without dropping in a whole lot of critical theory speak about gender fluidity. Once again, the boys are busy making up new ideas about the feminine: they wouldn’t be hanging out on 4chan on a Saturday night if they had other things to do, n’est ce pas?

One has to stay focused when trying to tease some understanding from otokonoko genre’s popularity. Like the yaoi bishie, %100 pure genre otokonoko are a fantasy toy made up of the desires of their creators and -more importantly- devoid of the problematic aspects of the genders that were blendered to make them up. It would be a mistake, or at least distracting to let them slide into more realistic or even dramatic depictions of trans-like folk. Kio Shimoku might be dropping the tropes into Genshiken, but Hato-chan is not one. He is crossdressing, he may be edging towards some position within a trans* continuum, but he is not a fan-service ZOMG, panchu-with-bulge, all the boys want him no matter because he is so cute character – yet! I will stick with otomeyaku. Like Dr Tamaki’s Beautiful Fighting Girl, otokonoko spring into existence with little back story or reason to exist beyond their stated purpose. I would be surprised if there wasn’t already a few cross-overs from last decade’s fave otaku fixation to give us the Beautiful Fighting Otokonoko. If this sounds too Azuma-database-ish, remember that while the sentence grows more elaborate with a new vocabulary, the desires expressed remain within the same neighborhood.

Too cute to be a girl

After 400 high-school eroge dating sims, with obligatory harem bonus arcs after clearing all the characters, the thrill of a fantasy of dragging a bunch of lovestruck, wide-eyed moe-blob lolis off to the yurt must pale.

In the Genshiken-verse, Kio Shimoku has been sneaking in otokonoko genre tropes as a counterpoint to the fujoshi girls’ level up of pervy fantasy material. Simple loli dojins just aren’t going to cut it anymore. Quaint loli smut is for funny smelling old men. He has even dropped in Risa with her nasty tastes. Both Madarame and Kuchiki seem to be conversant with this new, even more obscene otaku fixation, and thanks to Kousaka’s company’s josou game, it is now lose in the story line.

Plot mojo, as always comes from the extreme liminality of the Hato character.  Once determined to ship himself as a BL seme with Madarame as uke, he now seems to be trying to interest Madarame in Hato-chan as a real-life otokonoko. No “trapping” or even josou-game outfits are needed: everything is above-board, fair and in the open, but Hato has a secret weapon!

The “I could take care of that for him” fugue moment has now been replaced with Hato-as-chan trying to out-feminine the girls (set your goals at an attainable level) of the Genshiken.

I don't trust those Bulgarian scanlators

In the yet to be translated Chapter 98, Hato-chan, chaperoned by Sue, cooks up a meal for the ailing Madarame at his flat. Behold the Genshiken Nadeshiko in full flower.  Even Keiko the hostess couldn’t be as accommodating, and she definitely wouldn’t make house calls! Waughh! Too domestic! I wish I could make out exactly how Sue is over- reacting.

What is Kio Shimoku doing?

Perhaps he is finally getting bored with the Genshiken opus: Hato will go full trans- fujoshi- I’m- only- gay- for- you and glomp onto Mada, and after lots of mutual blushing, the happy couple will stroll off into the sunset and the series will end.  Much fan rage to ensue.

I don’t buy it. For one thing, throwing away the comedic possibilities of even such a simple ending is like throwing away a bag of money.

Drawing is easy, comedy is hard.

Oh Fuck it! Engage play-set field !!!

Hato comes out as -chan on campus and the stuco boys make life difficult for the Genshiken. He seeks the help of the campus LGBTQ association, only to find that they do not share his view that otokonoko-fujoshi has a place in the queer spectrum. Hijinx ensue.

Hato comes is caught changing on campus by the stuco boys who threaten to make life difficult for the Genshiken unless Hato-as-chan joins the student government. Hijinx ensue.

As a new member of the stuco, Hato-chan has to go around to all the clubs and ensure their activities are in line with regulations. She begins to take notes on the various dramas and unrequited romances taking place, while Mada tags along. She uses her notes as materials for steamy BL dojins, all while being completely unaware that Madarame has developed strong feelings for her. Hijinx ensue

In an attempt to cut down on make-up time, Hato adopts a short-haired butch look while on-campus. Most of the student body, including the stuco boys think he is a girl crossdressing as a boy. Some find out the truth and are still smitten. With Risa and the rest of the fujoshi crew they run a Host Club as part of the school festival. Hijinx ensue.

Utso Lily's hero is getting more and more into girly-dom

Hato-chan decides that she needs official gender reassignment status and goes to Dr. Saito Tamaki’s clinic (or thinly veiled manga-verse analogue thereof) to try to persuade him that Fujoshi is a gender. Hijinx ensue.

Ogiue suddenly lands two separate manga contracts for monthly serialization and is overwhelmed. She hires all the current Genshiken members as part-time assistants and with coaching Hato gets better at drawing stories, rather than sex scenes; but they are still shorthanded. One afternoon whle taking a break in a nearby park, Ogiue, Hato, Yajima and Rika come across a drunk woman asleep on a park bench. By amazing coincidence it turns out to be Narumi- sensei, the only teacher at Ogiues high school who supported her (also a closetted fujoshi). Waking her up they hear her tale of woe; jilted, unemployed, about to be kicked out of her apartment. Ogiue decides to hire her as an assistant. Of course she is useless at production, though she cooks well. There is no room at Ogiue’s, so Hato is pressed into letting her freeload in his cramped apartment. Hijinx ensue.

A homicidal terrorist shows up on campus piloting a 40ft high mecha. Sue is revealed to be part of a world-wide mercenary force and de-cloaks her nearby parked mecha but is too distracted by Hato and Mada to be able to raise her psi-linked shields. Meanwhile the villain keeps insisting that Hato-chan is his “honey!”, and refers to Hato as “Kashim” between singing Schubert’s Ave Maria and smashing buildings. Mayhem ensues.

It turns out that Madarame made a pact with Satan-chan so that a cute girl would take his virginity, only… Hijinx ensue. In fact the entire moteki field effect is a demonic spell, but Madarame’s soul will never be collected. More hijinx…

Hato-chan convinces Madarame that she truly loves him and only him, but Mada can’t handle the idea of 3D intimacy, so they only exchange drool. Hijinx ensue.

Hato convinces Mada to go off with him on a three-week vacation to rural Japan, where they spend the time walking through the countryside, eating good wholesome food and making friends with interesting happy locals. Nothing much else happens. Fans cry Iyashikei and go into rage mode.

Hato will drop out of University and get a job teaching at an exclusive girl’s school, but has to crossdress in order to keep the job. Hijinx ensue.

Madarame rejects Hato-chan, who then decides that she will move to Spain and learn bullfighting, so as to die in the ring. Small dead bulls ensue.

Hato eventually confesses to Mada and in a moment of alcohol fueled passion
they attempt intimacy. What follows is the clumsiest, most inept attempt at
man-love ever. Both are too embarassed to try anything further or even talk
much to each other after. Years pass, Japan’s economy gets worse. Mada messed up his career and a marriage, Hato decided he really was gay and liked crossdressing, but has had a hard life of it. They meet again, both homeless they hang out together, sometimes with a snotty self distructive street kid girl who reminds them a bit of Ogiue, back in better days. On Christmas eve, Hato- chan finds a baby in a dumpster. Redemption ensues.

Hato inherits a crumbling old-style rooming house near the University from a long-lost uncle and decides to run it as miss landlady. The fujoshi crew moves in and then Madarame shows up with a 6 year-old daughter, apparently the result of a long-suppressed/ forgotten sexual assault by a beautiful, strong, high-school yankee girl. Heartwarming Ikumen story ensues.

Madarame almost gets killed when he unexpectedly runs into Saki fighting with scary cosplayers. Near death, he is revived by drinking some of Saki’s blood: it turns out that Saki is so worldly because she is a 400 year old loli vampire. Despite newly gained super powers, Madarame remains incredibly uncoordinated and Hato must tag along on Mada’s patrols to give him martial arts lessons. Hato cannot decide whether he should be Mada’s male friend or a cute girl. Hijinx ensue.

And then Hegel famously wrote..., HOLY SHIT THE WALL !!!!

Hato-chan goes to a Slavoj Zizek conference at a neighboring university and a terrorist bomb goes off. She falls, hits her head and revives a few moments later to see a wall about to collapse on the famous philosopher. Suddenly aware that she can remember her past lives and that she knows magic, she invokes a teleportation spell. Zizek disappears.

She then remembers more of her past lives and realizes that Zizek was sent to a parallel world where he ended up restored to his youth, apprenticed to a wizard, succeeding the wizard, dying of old age, being reincarnated- with- full- past- lives- memories as a powerful witch, dying again after mucking about with a powerful magic artifact and being reborn back in Japan as Hato. Hato-chan now gets to be a magical girl and the reincarnation of the world’s most grumpy, media-savvy Hegelian philosopher. Hijinx and bad philosophy jokes ensue.

girl archers make the best boy archers, except when...

Hato is invited by Madarame to spend a few weeks in a hill town near Kyoto with distant relatives – who turn out to be very conservative and suspicious horse breeders. They are also devotees of the traditional Shinto ritual of mounted archery – Yabusame. Due to a lack of young men interested in the sport, the nearby girl’s college has been re-training their equestrian team as cross-dressing archers for an upcoming festival, but one of the girls has taken a bad fall, injuring herself. Hato insists that he know how to ride, and can learn enough archery in time for the festival, and can cross-cross-dress to blend in, but the club captain and Mada’s uncle and aunt prohibit him from doing anything more than acting as a groom for the horses. Uncle and aunt remain very suspicious and are sure that he will try to sneak in some riding practice instead of just minding the horses- especially the most high-spirited and unpredictable horse on the ranch, the horse that threw the team captain’s friend, nicknamed “Dirty”.

One afternoon Hato is out in the field, cross- cross- dressed as a girl, dressing as a medieval horse groom boy, horse minding with Mada – who just sits under a tree reading manga. Hato gets bored and notices a big old tractor tire in the field. Dirty is just eating grass and waving its tail at flies. Hato up-ends the tire and climbs inside. The tire starts moving – the field isn’t flat. Can’t stop. Madarame starts shouting and chasing after Hato in the tire. Auntie and Uncle run outside to check on what the commotion is. They see him rollin’…. They hatin’….  Patrolling… Trying to catch Hato riding Dirty.

Must stop now… Hope someone posts a ch98 synopsis real soon…
Whew! Thanks! I was about to add something that involved Hato, Madarame and the 
Fresh Prince of Bel-Air.

 

 

 

Unbiased God: Genshiken ch 93 + 94

“Slash is usually written by straight women, yes, and I think it appeals to straight women in the same way lesbian sequences in commercial pornography appeal to straight men. I always say that if gay men and women didn’t exist, straight men and women would have had to invent us.”
– Samuel R Delany

The tone of the Genshiken has shifted a bit since the Nidiame anime ended. Once again, it has gone into full Hato-focused-mode, with the fallout from his (less occasionally now her) yaoi-inspired man-crush on Madarame dragging the plot along. Those who were getting annoyed at all the “gay stuff” slowly wrecking their beloved Genshiken are going to be even more annoyed. Oh ye of little faith!

If Genshiken was that easy Mada would already be hitched up with Keiko, Yajima would be jumping Hato to try to stop him to stop hanging out in Ni-chōme and Sue would be trying to jump Ogiue every chance she got.

Something else is going on.

but first, a small aside about scripts and scanlations…

Even though the wait for Chapters 93 and 94 had me sweating, I swear I will wait through 4 months of drought should the successor to the bringer of light ever vanish into the ether before I start google-xlating and posting scripts from Bulgarian scanlations. We poor mortals just don’t know. We have no idea if the big K dropped more napalm, or someone got real-life busy, or just bored with the whole thing. I do not regret the scripts – at least I now know that a backup can be cobbled together. I found two other independent attempts, so I know that I wasn’t the only one who got withdrawal symptoms. But the current stuff is damn finely-crafted and well-done; it would take a year or more to ramp up a group effort to replace it.

We love and respect your work, please don’t leave us without our fix, waughhh!

One thing that I came away with from the script exercise: a foreign language reader dropped a comment thanking me for providing a summary in an easy-to-google-xlate text format. I think it should be best practice for all scanlation groups to release text format scripts along with their scans, so as to share the goodness across the gulfs of language, across the entire globe, a federation of leeching fans, going forward, into a brighter future…

Ok, back to some serious mulling-over the last two chapters. Spoiler lamp is ON

At first glimpse, the two chapters are simple and flow in a straightforward manner: only closer examination shows the staging genius of Kio Shimoku. It all comes together so naturally! In chapter 93, Madarame is stuck over the holidays in his messy apartment, alone and bereft of any harem. The absence of any follow-up by any of the four is disheartening. And his broken wrist hurts. When he finally gets a visit, it is from Rika and Yajima, or Rika with Yajima present to ensure that Rika doesn’t go off the rails. He soon learns that a truce agreement is in place and that there will be no visits from any of the interested parties. 3D lurv: Don’t buy the hype! The flashback to the old boys hanging out with him immediately after comiket also had a great feeling of authenticity to it, loaded with sympathetic guy-ish grumbling and rude allusions.

pig disgusting c93 p004Rika makes a few rude allusions too; both the boys and girls of Genshiken expect that their pr0n habit will be messy, but she quickly gets down to delivering her report and her ideas about the situation. In doing so, she assumes the voice of a great number of Genshiken fans (I posit that Japanese fans somewhat mirror diaspora opinions) and advances the suggestion that Keiko is the best choice for Madarame. Keiko is somewhat Saki-ish, riajuu, and available. She also is not Sue (our idol) or Hato-chan (our friend). Madarame can take that however he cares to – he is being gently put in his place, and that place is on the periphery of the current Genshiken.

No mention or thought of how uncomfortable it would be for Madarame to date Sas’s kid sister.

Madarame then wonders why she wasn’t pushing for Hato and gets a flood of goggle-inspired too-much-information before being told that it is really not the gang’s decision to make. Whatever Hato (as chan or kun) decides, they will support. Serves you right Mada for playing the “I’m passive I can’t decide” card.

Meanwhile in the snowy regions of Western Japan, Hato gets to face Kaminaga as his soon to be sister-in-law, in full sister-in-law-to-be mode. She is really getting into her new role. She has dyed her hair back to black, makes polite noises to the household, and gets the sudden urge to be all sisterly-supportive toward Hato even while scouting out his BL stash. Yup, here is an arch-fujoshi asshole completely reformed… Now pull the other one, it has bells on it.

think with what c94 p012Hato does manage to voice a bit of resentment towards her past behaviour, but for the most part is too troubled over what to do with his developing feelings for Madarame to really care about what Kaminaga is up to in her new oddly concerned guise. Kaminaga tries a gambit; get Kono and the other friend, Fuji(?) to meet up with Hato at a local restaurant. The results are uncomfortable. Kono doesn’t know what to do with her old feelings, and gets a bit creeped out when Hato starts going on about skin moisturization. Nor can she make the jump and discuss BL with a guy, which is the god/author setup moment Hato was waiting for: “See! I had to crossdress to be accepted!”

stop itoldyasoing c94 p018He also calls them his friends who he can talk with – which is so odd that I wonder if heavy irony was intended. These are the small-town fujoshi who turned his high school years into a lonely hell. And the meet-up is obviously some kind of poorly lashed together “How far gone is he? Is he still interested in girls?” exploration session. Friends like these, yup…

For all of it though, He does get some salvageable advice. Part of the Genshiken slice of life charm is the sheer amount of well-meaning, but not too useful “help” offered from all and sundry, from their own vested interest positions. Occasionally even a blind pig gets to find a truffle. Kono blurts out that if his hobby is causing him so much distress, then ditch it – it’s just a hobby. Of course her advice is tainted by self-interest, the Hato she still harbours a crush for is riajuu – but it gets him thinking.

Of course he will go back to Tokyo. Small town life is small and there isn’t a lot left for him there, though it felt good to clear the snow from the roof.

If Kono has any sense of occasion she had best run her ass over to the train station before he leaves and at least plead a copy of his next dojin from him. She can even say that the culture festival work was BETTER than Kaminaga’s stuff. C’mon, Kono, lets see some wiles!

As to why what he is returning to in Tokyo, that too deserves a bit more consideration.

A few choice bits:

All you fault c94 p010Oh yes, he does blame Kaminaga for his current dilemma, but is it the original one or the original, plus the stands that have been tormenting him? Or both, plus the Kaminaga he fixated on back in high school? Was it a crush or just severely overblown admiration? When Hato calls someone sempai, what demons lurk within his private meaning of the term? Really she’s not that responsible, unless a younger evil-genius Kaminaga had ran around their junior high school leaving yaoi dojins in the boys locker rooms in the hope of livening up her small town life.

To a certain segment of Genshiken fans, and a larger number of casual readers, Hato was always latent, and now has gone gay. But what an odd and tentative homosexuality it is. Were he a real-life individual, he would be free to explore his desire as he saw fit, and would end up somewhere within the fine gradations of however wherever’s gay culture so gradates. He would have a bit of a hard time at first, but any group eventually socialises newbies. Perhaps real Japanese gay communities have their own internal arguments about what to do with “another kid from the sticks who thinks he wants to do yaoi, as a seme”. There is way too much BL and Yaoi floating around Japan.

Hato however is a character, so what exactly is he being constructed as – what is the odd version of “gay” desire being created, and why?

Hato was never a “simple” male fudanshi leaning towards 3D man-love; he always compartmentalized his yaoi fantasies within the persona of a heterosexual, celibate, female fujoshi. Hato-chan was supposed to be safely “in charge” of that stuff, viacariously shipping Hato-kun as a forceful seme, but that reality never threatened the “real” male Hato, because fujoshis just do fantasies. But now “someone” wants to set 3D fujoshi Hato-chan up with a 3D Madarame as a nice, deferring, lovestruck, passive shoujo heroine, or at least as otomeyaku. Who is processing that fantasy? Which Hato is it coming from?

“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.”

– 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.

Kio Shimoku’s supportive cast of Genshiken characters bypass any simple questions of persecution (that’s left to small town high schools out in the snowy boonies) but if this was an attempt at a gay male coming of age story, then where are the beta couples, supportive (or predatory) older experienced gay guy(s), and a host of other tropes that I will transpose from non-exploitative “feels” yuri, having no idea how the bara genre handles this stuff when it is not getting down to raw nasty smut. Then there is his crossdressing…

Hato’s emergent pseudo-gayness is a thought experiment as to what might happen if an isolated small-town male used yaoi and BL tropes as a guide to “becoming” gay and/or trans, taken to extremes to be-labor a point and spin a fine tale. I have gone on previously that Shimoku might be pulling fast one on Saito Tamaki’s idea of hysterical trauma, with yaoi instead of the Beautiful Fighting Girl. And of course there is Dr. Mizoguchi… The results are going to odd. This stuff was generated by mostly straight females for their own amusement, and the studies surrounding it and it’s western counterparts are full of warnings from real guys who like guys that the wimmins are off on their own tangent. Plus the chief puppet-master of this tale is a guy, riffing on these contradictions.

As slash-kami MJJ reported a decade ago, her gay male correspondants would tell her: “real guys don’t fuck like that!”

Sorry Chip, you think we didn’t anyway?

“I know where I came from – but where did all you zombies come from? “I felt a headache coming on, but a headache powder is one thing I do not take. I did once–and you all went away. So I crawled into bed and whistled out the light. You aren’t really there at all. There isn’t anybody but me –Jane– here alone in the dark. I miss you dreadfully!”
-Oscar Wilde

“…to posit a gender, a God is necessary: guaranteeing the infinite.”
– Luce Irigaray

Who “owns” the popular construction of the ideas behind romance, love, sexuality and desire in modern societies? How is the territory staked out? What are the effects of the ways in which these are advanced? What happens when consensus is replaced by contested spaces? Is it all too complex for mere mortals to handle? Will society fall apart as a result?

No wonder the gender theory brigade are thick as thieves all over modern Japanese fujoshi cultural practices. I know something of the allure of this kind of raw sociology. I am lucky I have no vested interest in it or I would soon go all mad-boy about the whole thing and start Mwwwahhahhaahaa-ing all over this blog. Sociology taken too far has much of the same mirage-like appeal found in conspiracy theories. Hermetic knowledge! Power! Influence! The possibility of messing around with entire cultures! Wheeeeeee! Instead I watch from the sidelines, bemused…

Back to the Genshiken…

Note how Mada is left in a typically Madarame-esque situation due to his profession of passivity. He doesn’t even get to state any preference. His little harem fantasies are written to indicate that Hato-chan would be an acceptable member of a group attention-lavishing scene – whether he wants to bundle the whole gang off to the yurt is another matter. It is not that he can’t process all the attention, it is just that the processing has stopped at “Good to be King“. Sue as exotic temple dancer is a master-stroke.

Dare he try ANY kind of 3D and risk the destruction of this fantasy? But whose fantasy is it?

Something about butterflies… Who is dreaming and who is the dream?

Historically, Japan was at least two up on the prehistoric Western world’s guy-lock on romance tales thanks to Murasaki and Shonagon, but their works were not exactly in wide circulation until the twentieth century. And the narratives they advanced were hardly society-shaking. In the rest of the world, narratives of romantic love appear to be mostly male creations until late in the game. Sapho exists only in fragments, and they were enough to scare the bejesus out of the guys. I missed any University level courses on 17th to 19th century english lit, and so the exact timeline for earlier efforts but I vaguely recall that some “virtue tales” of female submission to rich suitors (Pamela, etc http://en.wikipedia.org/wiki/Pamela,_or_Virtue_Rewarded) were written by guys in the 1700’s. Even then controversy ensued, with a few satires and perhaps even Sade’s infamous Justine written in response.

England in the 1800’s got Pride and Prejudice, Wuthering Heights and Frankenstein (surely, a love story), so at least there was some female input, though Brontë first published under a male-sounding non de-plume. Skip forward into the twentieth century, and we see that popular romances, though penned by women were being converted into movies by large, very patriarchial movie studios. Who was more the author for Gone with the Wind; Margaret Mitchell or David O. Selznick & Co.?

Now everyone gets to toss their ideas into the ring. Straight girls and guys as well as gays and lesbians and the whole LGBTQ spectrum get to write their stories and argue about their individual ideas about the proper ways of finding happiness, true D’awwwwww and snuggles (or whatever else turns individual cranks). And, as always, one can write the odd bits that don’t fit well onto the mysterious, imagined “other”. Nothing new there either, but no more witch burning allowed.

humanityIt is one thing to attempt to imposes one’s whims onto mainstream notions of male: female love, desire and courtship. It is another thing entirely to “colonize” a minority sexuality of a different gender and/or society for your own amusement and pleasure, even if you get side benefits from allegorically addressing certain issues of roles and power within your society. And the rotten girls are not going to stop, no matter how many yaoi ronso episodes pop up. You might as well argue with the hardcore fans of other paraphilias that their fantasies are hurtful, mean and dangerous to real humans. The responses will be the same, and familiar to even Genshiken readers.

And now I feel a bit guilty for all the exploitative v1 yuri smut I have consumed over the years. Just a bit, It’s complicated…

Perhaps Madarame and Hato should hole up in Mada’s apartment and devour a stack of contemporary non-exploitative, woman-authored, lesbian approved “feels” yuri to get some insight into handling confusing feelings. Hato should bring his chan persona just in case. Since the quality of the advice currently offered to them is so ill-suited to their predicament in any case, a little from the other side of the trenches couldn’t do much more damage. Shimoku Sensei could have a field day dragging another empire of delusions into the fray.

Personally I would recommend, as I am currently enjoying, the works of Takemiya Jin.

Stop! It is dangerous to base one’s ideas of romance on popular fictional narratives. No good can come of it!

From my misppent youth, I remember the teenage sister of a friend who fell heavily for the high school freak, who was prone to acting out the worst excesses of “hippie” behaviour a decade and a half too late. She had her own problems; a taste for massive amounts of recreational hallucigens and other self-destructive behaviour. Their search for a model of a “normal” romance led them to lock themselves in the basement TV viewing room at her parents house and snuggle while watching soap operas in order to learn how to construct a conventional romance. I shit yee not! The resulting relationship was odd, full of imagined infidelities and one case of amnesia. 3D far weirder than 2D!

But reality is reality and…

On second thought, Mada and Hato better also grab a stack of Gintama tankubons. Ten years of it! Shout Out Time! Wow!

As for the works of Takemiya Jin, I had run into them before and a few glowing recs from Erica-sensei caused me to seek them out again. I now see that the collected volume she recommends was spread out across a slew of one-shots and various titles (as available to us cheapskate leeches), but take place around the same group of young women. There are hardly any herp derp hawt secks scenes, which used to be the whole point of yuri – but their absence is not missed.

What Takemiya-sensei’s stories do have plenty of is brooding, emotional relationshippy stuff, but measured out in believable doses. I find myself making D’awwwwww noises. And I really, really, really like the character artwork. Takemiya-sensei uses a fine strong line and is one of the few artists who can do the pointy-chin face and get away with it (for moi, your mileage, etc…). Most of the time I find the pointy face shojo heroine a a warning signal for a vapid helpless thing (or the occasional sword weilding heroine – who I have no problems in principle with – its just that they are far too patient with nasty fools to appeal to me [1]). These women are far from either extreme. They are practical romantics and that sets them up for no end of relationship troubles – somewhat like real life. Their expressive manga eyes brood over their predicaments while their mouths are set with a grim determination to figure the whole messy thing out somehow; to keep going, to take their desires seriously, even as these desires threaten to shatter them or turn them into lovestruck idiots.

Perhaps it is because I grew up aquainted with a few women friends who liked other women, lusted after one or another of them and once the adolescent hormone surge receeded, found them good occasional company. What stuck was an admiration for how their heartfelt longing for idealized romantic love was perpetually at odds with their cold, hard, pregmatic outlook on relationships and life. I always suspected that they secretly looked at themselves in the mirror and hoped to see a hero staring back. What the heck, who hasn’t?  There are worse things in the world than making a fool of oneself for love. I got lucky I guess: assholes come in all models but I pretty well missed the wimmen’s versions, so I can foolishly generalise in a sympathetic manner. Takemiya-sensei’s stories remind me of them somehow.

We get more than “story A” in Takemiya Jin’s works. Characters only pair up after a lot of consideration and worry that they will mess up existing friendships, or feel like crap if they are rejected and/or break up. There is also a small degree of powder ritually burnt about whether the intended one will think that yuri v2 romance (aka real gosh honest to goodness lesbian romance, as written by an “out” Japanese lesbian!) is weird. Some of the characters are deeply into the idea of romantic love, while others abjure it as too fraught with emotional danger – even though they secretly wish it could one day be theirs. Confessions don’t always bring instant happiness, though reconsideration pops up as a reoccurring motif. There is even a token gay guy friend of one of the more active lesbian characters; she gets stuck with him shadowing her at school, gets used as a beard by him, gets a lot of unanswerable “what should I do?” questions and then has to counsel his younger sister to stop manisfesting her misplaced jealousy as childish homophobia. The scene when sis is sure that older brother is doing gay as yaoi and needs to be calmed down is a hoot!

Pubic service yuri fragments_of_love_v001_ch004_029My only minor complaint is that Takemiya-sensei has the dark-haired brooding type and the active blonde type, and the blond older woman type and as the characters overlap between stories it is sometimes dfficult to remember who is who (and pining for who, while pined for by who) – especially when a story has two nearly identical dark-haired characters in a love triangle (one wears glasses). It gets a bit confusing.

So two reticent male Genshiken characters, one with a head full of loli crap and josou games, and another with a head full of yaoi dojins, wondering what to make of their feelings could do worse than take a few tips from the cautious life lessons offered by Takemiya Jin. Both Madarame and Hato are tentative about 3D anything, including friendship. Some of the wimmins in Takemiya Jin’s ‘verse do just end up as friends. Perhaps Shimoku sensei has been holding the (v2, non exploitative) yuri in reserve all this time?

If Kio Shimoku decides to push the Hato-crush plot even further he is going to get to have a whole lot of fun with the other big weak spot in yaoi-land; the idiotic, formulaic insistance on the seme/uke typology. And we have been getting some previous plot telegraphing about this: Hato always imagined his “objectivised male self” as a seme. Except that when he is in Hato-chan mode and trancing over Madarame – then he begins to think uke-Hato-chan-otome-yaku-whatever. Pity that Madarame is so damn passive, that he couldn’t even be a sou-uke, let alone any kind of seme. Sou-uke requires something beyond catatonic withdrawal.

Then toss in the “Am I turning gay, or can I get away with the [only for you] excuse?” from yaoi lore. While Hato can put off a few worries with this, Madarame would have to do a whole lot of sweating, even if he occomodates the experiment as a josou game fantasy that has come to life. Madarame is now too far gone to consider any 3D attention, from anyone. Expect vicious “How to cure a lolicon” and “josou sanmyaku” (Crossdressing Mountain Range – game) jokes ‘o plenty as he tries to find an emotionally safe place to curl up into and weather the storm.(2)

Meanwhile to Hato: Even if originally written as nominally straight in 3D matters, he must have found the idea of manly as-warped-by-pervy-women romance strangely appealing. So he somehow got stuck on the idea that yaoish romance was a good model for romance in general. Questions of bodies and genders could even have been put aside for a bit if the first BL-ish magazines he stumbled across featured androgynous bishies – he was, after all not developing secondary sexual characteristics as much or as fast as his junior high classmates. Hence the latest little ret-shade offered up to us by Shimoku-sensei. This offers a convenient plot excuse for leaving the judo club as well. Androgynous lovers who did rough, rapey man(ly) secks in tandem with over -the-top you-and-only-you-forever-even-if-the-earth-takes-my-dead-body romaticism did something for him. The female self he constructed was a way of denying the logical implications of his fantasies, as well as being the vehicle with which he could finally find a social wherin he could fan over them.

gasp c94p027The Genshiken finally empowers him to constuct his own fantasies; to engage in secondary, fannish production, to take charge of the mechanisms of his own desires and draw his story. But of course he can’t. He can only draw clench scenes. His imagination is primarily visual. From his stand(s), we can see that he has been written as having extensive trope genre knowledge, but canot turn it into a full “na-me” storyboard. In this matter having Ogiue help him is only a half-measure, because she is as visually based as he is. Rika is the only text-narrative-biased fujoshi in the Genshiken, and she has no off switch. No help there.

Could it be a suppressed narrator-Hato that is pulling all the strings?

“If I can’t get you to write it, I’ll make you live it! Dance my little puppet! Dance!”

What a fine detective story! Better than a murder mystery in a society of telepaths!

Hato should have imprinted on the v.1 yuri of Ken Kurogane. The polygamous “lets fuck like crazy right now” of gay and straight male pr0n, the over the top romanticism of yaoi but with female bodies and no damn seme /uke stuff to get in the way of a good sweaty tangle. Male mangaka, hmmmmmmm… Is Shojo Sect full of reworked yaoi and bara puppets presented as “girls”? The mirrors of desire in the manga-land funhouse are distorted as all heck! But at least then Hato-chan could have gone looking for a nice spunky girl who could best him (her) in a judo match…

Duh!

How far does Kio Shimoku care to push the Hato-crush motif? It looks like it can get cruel really fast, even if it is well in keeping with his habit of using the Genshiken to skewer otaku (and now fujoshi) foibles.

Personaly I still don’t buy any bit of Hato x Mada x Hato. Perhaps I am in denial, but I cannot believe either of them in any kind of physical relationship with anyone, given their current states. Both are now emotional wrecks. Of course Kio Shimoko can write Hato and Mada into a well-lubed orgy along with the rest of the crew, the brave little toaster, chibi-godzilla and a tentacled monster from the planet transexual in any upcoming chapter he cares to, but that would be the last chapter of the Genshiken. Done, Forever.

Also, while I used to be an enthusiastic Sue x Mada shipper, I now believe that Shimoku-sensei has dropped in too many scenes where it looks like Sue is embarrassed in Mada’s direction, but Hato is always there too in clear line of sight. If we need Sue yuri-ish hijinx in the Genshiken, then there is even a use for Hato-chan in the 3D secton of the Genshiken ‘verse. Sue might be able to salvage the wreck that is Hato, even if it might take months of chaste dating to calm him down,

Also, I am still waiting for the moteki field effect to hit Hato. Madarame had his four “suitors”, By my intuited rule of parallel haplessness, Hato should get some attention soon, from other girls besides Yajima and Kono. Phhhttttt! Kono doesn’t even count if she doesn’t get her game on soon.

Similarly, I can’t see Keiko doing anything but looking at Madarame and deciding that he is just too much work even for a love-struck young hostess. Let the big boobed gaijin girl have some fun next comiket; the moteki field has collapsed and unemployed, relationship-clueless, creepy manga consuming, sulking, passive Mada is once again hopeless. And all that 2D FOREVER stuff tastes like ashes in his mouth. Time for Mada to change his life.

Gambatte! Madarame-san! I know you can become #1 host!

If this keeps up, Ogiue will have to impose a NO DATING IN THE GENSHIKEN, DAMMIT! rule, just to calm things down a bit.

Snap out of it and go make some dojins!

Random Endnotes:

[1] You can’t fool me! I know that a proper lesbian vanquisher of evil looks like Hothead Paisan [http://en.wikipedia.org/wiki/Hothead_Paisan]. I rue the day I picked that thing up – a joke gift given to a straight female friend who was being teased +/or supported by her frends after one more disappointing relationship had just ended. Yikes! Cannot un-see, but it made a lot of sense within its context. You think Hothead Paisan would do any stupid rose duelling? She’d shoot the fucking goomba in the face, twice, cut off his junk, lay into anyone, male or female who stood in her way and burn the evil twit rose-dueling school to the ground. Problem solved! Run off into the sunset with the rose-maiden, and shoot a few rednecks on the way! …As long as the coffee didn’t run out. One wouldn’t want to be anywhere in the vicinity, but I understand where her creator was coming from.

I understand rage.

Recall:

“Fairy tales do not tell children that dragons exist.
Children already know that dragons exist.
Fairy tales tell children that dragons can be killed.”

Closer to current manga practice, consider Gaku of Murasaki-iro no Qualia. She’ll off one of herselves, if herself gets in the way of saving her friend. That’s how to do hero!

[2] I have a suspicion that the josou one-off tale and the game noted by the Girl Cartoons josou genre essay series (pt3)

” Maintaining this line of reasoning—foremost, the assumption that many Josou works can be read as allegorical of the development of the fandom as a whole—we turn to the erotic visual novel 女装山脈 (josou sanmyaku) or “Crossdressing Mountain Range”, by Nounai Kanojo. Josou Sanmyaku draws a number of parallels to “How to Cure a Lolicon”, and while it is less explicitly allegorical, it nonetheless represents a typical conception of the development of Josou fandom, and development of attraction to the “otokonoko”—which, compared to “Lolicon”, is made very explicit here—and makes a few interestingly novel claims about the fandom which might almost be considered moral prescriptions.

To begin with, Josou Sanmyaku is aggressive in its invocation of the “otokonoko”. The three heroines², all crossdressing males, insist on referring to themselves not as 男の子 (with the kanji for “child”), but as 男の娘 (with the kanji for “young girl”). The “otokonoko” is established in the game’s mythos as something of a third gender, revealed eventually to even be able to bear children via supernatural means. Particularly in the first act of the game, which includes one erotic scene featuring each heroine, there is a strong undercurrent in the dialogue of the otokonoko being capable of providing pleasure far beyond that which a normal woman possibly could, and of the heroines’ goal being to “ruin” the protagonist such that he could not be satisfied by normal women again”.  – –  http://8c.dasaku.net/?p=72

were notorious enough, to serve as the model for Kousaka’s company’s crossdressing game in Genshiken.

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

Genshiken ch 89: with a little help from my friends

A busy time for me at work and in real life; perhaps too busy to be searching out Bulgarian and Peruvian scanlations of Genshiken and trying to figure out what the effing hell is going on with the gang at Comiket in ch 89. From other reports, and my efforts at stuffing incomprehensible text into Google xlate, it appears that Yajima and Hato are trying to figure out their feelings, (not towards each other) and are beginning to realize that they are completely clueless when it comes to processing 3D longings.

Yajima appears to be convincing herself that Hato x Mada might still be on, precisely because Hato has stopped cross-dressing. (???) This gives her an excuse to backtrack from the irrational, irresistible urge she felt to ply Hato-kun with his fave BL dojins, as a prelude to (???)

Meanwhile Hato has come to the brilliant conclusion that cross dressing and too much yaoi have not left him gay, but only – in the manner of so many y/BL plot-lines – with a man-crush on Madarame and only Madarame. Since this would compound his previous sin of publicly labeling Madarame a sou-uke, he decides that he must atone for it all by ensuring that Madarame gets well and properly laid by Angela this time around.

Kuchiki decides to lend a hand:

I give you the otaku

grrrr

why thanks

…need more? http://bit.ly/14cpBUO

Then again, my Google-xlate-fu might be weak and foolish…

By now it is painfully obvious that Shimoku-sensei is trolling his fujoshi readership, while extracting every last once of bathos from the social ineptitude of his characters. He is being relatively easy on Yajima; she only has to suffer the first pangs of desire. Hato, as the mangaka’s prized creation gets a far more difficult role to play: He has to independently discover the concept of friendship between guys, but only after trying on and ruling out all manner of ridiculous rotten-girl scripts.

as previously quoted:

“…reminds me of a German guy I knew in Tokyo to whom I lent some Eroica slash stories. Helmut returned them to me in agitation. ‘Don’t these writers realize men can be friends and not want to have sex?!’ Naturally, I said, but the point of the slash exercise is that the guys do have sex. He didn’t see it.”
– M. J. Johnson writing ca. 2002 in her Aestheticism site column”

Hato’s character is like a lab rat that has been raised on a diet of rotten-girl melodrama. Of course he is going to screw up the whole make friendship thing. Lets us count the ways…

Or not..

Madarame, for all his social faults has had male friends, but it looks like his patience, understanding and acceptance is beginning to wear a thin. And if he had entertained any thoughts of getting better acquainted with Angela, his “friends” have once again “helped” him straight into shit-out-of-luck land. First the sou-uke mess, now this!

Hato is really loading his karma. Besides having a rather odd view of male friendship, he is also under the illusion that his now-abjured hobby gave him a special place in the company of women. He has little idea that since he has de-cloaked and dropped shields, at least three rotten girls are looking at him with renewed interest. Judo throws are not going to be much use against them.

Man’s timid heart is bursting with the things he must not say,
For the Woman that god gave him isn’t his to give away;
But when hunter meets with husbands, each confirms the other’s tale —
The female of the species is more deadly than the male.
– some bitter dead English guy

I am also wondering if Shimoku sensei is completely aware of how some of the fans of the first part of the Genshiken saga are squeamish about the whole yaoi/ bl/ rotten girl/ whiffs of homosexuality and transvestism that the newer Genshiken has been playing with, and is giving them a bit more discomfort to drive home a point. Genshiken is all about an otaku mangaka poking at otaku foibles and weaknesses; specifically how their retreat into simple fantasy plot-lines masks a profound conservatism when dealing with 3D social complexities, A sharp edge hides behind the comedy. If the scalpel was ever put aside, the whole series would soon degenerate into 4-koma filler.

In other words, it would be easy if Hato was cartoon gay, or finally succumbed to a long-repressed urge to jump Madarame, just as it would be easy if the rotten girl tribe got to see their fave plots play out in 3D without consequences, and if Angela the “loose” gaijin amazon could be publicly prevailed upon to sex down a heartbroken uber-otaku. The whole club could then decamp to the beach for a swimsuit mini-arc. Hijinx to ensue, no painful hurt feelings displayed on the pages, and a few old-school fans could put aside the work and proclaim: “It used to be good, but now it’s just some gay fujoshi thing!”.

You don’t build a decade long slice-of-life franchise that easily.

The only danger that Shimoku-sensei’s approach holds is that sooner or later he may decide to end the tale in a massive cluster-disaster of embarrassment, misunderstanding and hurt feelings that leaves the club room empty and its former members unwilling to ever face each other again.

I wouldn’t put it past him.

Genshiken 86: Hato gets lucky!

Wherein the previously promised post, “Love and only love” gets put off for an examination of the latest chapter of Genshiken, even if I have to work from Bulgarian (?) scan scripts…

scan script provided by "strong girl-boy friends" group

.If Hato should have learned one thing from Madarame, it is: don’t keep the secret envelope taped behind the bookshelf/ desk. That being said, Hato just got more intimate female attention and skinship than he has ever had in his whole life. If that don’t have some effect, at least in terms of appreciation for what a determined fujoshi girl can do to make a young trap’s body go weak and heart sing, then Hato’s next clothing spree should be for monk’s cloth. The shock of the envelope reveal is going to pass a lot sooner than the memory of what he felt on his neck.

No turning that smooch/lick on the neck into “fantasy is fantasy”.

Will Hato now go all Kuchiki whenever he sees Sue and demand a rematch?
Subdue me! Subdue me!

Will he start drawing fake yuri wrestling ecchi scenes?

How will he draw? If the volume extras are to be taken as canonical, he needs at least a bra and pantsu to be able to draw in fujoshi-mode. Perhaps a sports bra and gym shorts will now suffice.

And what of Sue? Nurturing the impression that a cross-dressing, yaoi reading, pr0n drawing Hato could possibly be drawn to a 3D Madarame, especially after seeing him fixate on Mada’s neck was a reasonable reconciliation of fantasy and reality, and one that would also brush away any nagging stirrings of interest she felt developing towards Madarame, if any was developing. What a shock to now be responsible for:

1) finding Hato’s embarrassing secret;
2) committing the politically incorrect sin of trying to impose a sexuality on a friend who had been previously bullied in such a manner (she might have been trying to signal that she was supportive of Hato “coming out” – Oooops!);
3) killing his crossdressing hobby;
4) ruining any chance for him to discover his innermost desire to jump Madarame and finally
5) causing a small fierce flame with her name on it to be lit in the heart of Hato-kun!

No wonder Sue is hiding over at Ogiue’s apartment.

The reverse pairing issue had been telegraphed by Ogiue’s previous request for a guest illustration in her next dojin, and Hato had made a point of indicating that he was not too fixated on his favourite pairing orders; something that the casual literature on fujoshi culture tends to emphasise as a trope of the tribe, along with the attendant “pairing fight”. But drawing his analogue as a trap and as uke to a sou-uke is about as transgressively abject as Genshiken-version fujoshidom could get without hauling out whips and chains.

Other correspondents have pointed out that Hato and his puppet-master both have too much invested for him to make a completely clean break with his cross-dressing and quasi-fujoshi habits. Perhaps we will finally get a whiff of Mizoguchi and have Hato blurt out “yeah, but women draw it“. Shimoku-sensei is going to have a lot of fun elaborating on how he undergoes a process of radical disenchantment. Since the Genshiken-as-social is coming up on being a ten-year project for its creator, I would expect that the failures and successes of the emergence of Hato V2 will mirror the strengths and weaknesses of the club.

One of those strengths is Madarame’s acceptance. It needs to be shown as a strength and not an opening/ holes/ vulnerability (Shimoku-sensei has telegraphed this a few times) and he needs to pass it on.

Another strength is the Genshiken’s newly revived record of cooperative productivity, at least while under female stewardship. I have gone on too much previously on how both Ogiue’s and Hato’s high school groups were bad socials (they bullied and produced nothing as a group – the University manga club is not too useful either) The Genshiken’s productivity can also be measured in terms of its members’ personal growth: Ogiue with Sass and then with Hato, Sue, Yajima, Rika and the rest of the irregulars created some respectable publication output but the process also helped “create” Ogiue and to a certain extent Sasahara. Ohno and Tanaka have gained as much from Genshiken-enabled cosplay as they have put in. Madarame’s failure to launch could be taken as a sign of the weakness of the club in helping a hardcore male otaku, or it could have saved his life. Who knows how worse he would have been without it?

Lots of us western Genshiken fans have been clamoring for more Sue back story (Moar Sue super-powers! Where is her cloaked Gernsbeck M9A ???) but Madarame is equally enigmatic. We know Ogiue’s and Hato’s past traumas, some hints about Yajima and Rika a bit about Ohno, less about Tanaka a tiny hint about Kuchiki, but nothing at all yet about Madarame (or the Prez and Kugayama for that matter, but they have left the stage).

What did Madarame do with himself before university? What is his background, and how does he (or his parents) pay for a degree at a reasonably prestigious university? How did he become an otaku? Why did he give up on 3D females? Can he socialize with guys beyond the confines of a safe, male-otaku enclave like the Genshiken? What women fluster him into his uber-geek-creep mode and to what extent is he now comfortable with the Genshiken fujoshi tribe?

The earlier incarnation of Madarame could be manic in his enthusiasms and prideful in his knowledge of his favorite bits of fannishness. His embarrassment in the face of women when the libidinous,”creepy” side of his hobbies spilled out would cause him to retreat into even more stereotypically creepy otaku behaviour: a form of pre-emptive self-sabotage that always ended with him declaring that he is only interested in his fantasy world anyway, and therefore harmless. There was a point to his geek-out routine as a reply to the gesture by Kousaka and the gang: it was consciously self-ironic. The brief return of the “old Madarame”; the first time as tragedy, the second time as playful farce.

Gailbraith interviewed fujoshi who spoke of “graduating out” to meet real world responsibilities. Is there any literature on male otaku “graduation” besides Train Man vs Radio Wave Man? So far the issue is studied only in passing: when a maladjusted loner goes berserk, or when a publicity seeking geek spokesman marries his favourite video game character.

Any talk of graduating out, and it surely exists on 2chan, puts professor Saito’s reality x fantasy pronouncements under pressure. The tug between the two extremes is not specific to otaku or Japan. Western geeks had their fiawol and fijagh as early as the 1960’s. I still need to find a digest of Prof Saito’s arguments to see if his assertions ground in present-day sociology, but clearly the ability to keep reality and fantasy separate exists along a continuum for any population.

To admit cultural difference is no error: one has only to look at the differences between American and Canadian house lots and the Japanese practice of walling off their compounds to discern a certain higher regard for privacy and the separation of public and private space. But these practices have history and reasons behind them. Japan is a crowded place, neighbours are too damn close all the time and codes of behaviour are socially enforced. Middle class patterns of land use borrow from historical upper class models. Obviously people need some place to retreat to and psychic personal space will serve when physical personal space is hard to find. There is little in the way of a societal zeitgeist regarding platonic ideals required to set up a strong :public is public” x “private is private” distinction in society. After all, this is the free societal space that otaku and fujoshi inhabit. The term otaku literally means “of the house” or something like “man [or woman] of the house”. (Squire or esquire; a property owner, is a close approximation and equally archaic/ inappropriately formal in original use). The only transgression occurs when the boundaries are breached.

Saito’s hypothesis has pop-culture followers. Recall Honda Toru’s Radio-Wave Man manifesto as a response to Train Man:

“In 2005, Honda Toru published Dempa Otoko, or “The Radiowave Man”, a manifesto condemning Densha Otoko for depicting otaku as immature individuals who must “grow up” and accept social roles and responsibilities. Honda criticized the story for failing to understand the true nature of otaku, showing little more than how to participate in commercialized “love capitalism” (ren’ai shihon-shugi) by dressing nicely, buying gifts and going on dates to trendy spots; that is, how to engage in proper acts of consumption. What the franchise misses, according to Honda, is that otaku do not need to be redeemed or rehabilitated by romance with the opposite sex — or even with living creatures. Honda advocates finding love with two-dimensional characters, which offers a chance to achieve, or resuscitate, a “pre-social” masculinity.27 This love does not end in childbirth, marriage, sex or even courtship; its distinctiveness in part lies in its unconsummated fantasy potential. In this way it offers a way out of the “real,” or the “body politic centered by the reproductions of family” (Allison 2000, p. 173). Thus, for Honda, Densha otoko not only misses, but also jeopardizes one of the few truly counter-hegemonic masculinities available to young men in Japan today.“

http://www.japanesestudies.org.uk/articles/2011/SlaterGalbraith.html

Hato’s character seems to be constructed in such a way as to push the limits of the private x public/ fantasy x reality opposition to extremes. As such, he can be seen as a continuation of themes that started with Ogiue’s high school “sin” and Madarame’s absolutist “néant” (1) position – a position that mirror’s Honda’s.

Kio Shimoku has played this chord before, it is reasonable to assume we will hear more of it.

Hato’s journey of disenchantment and then accommodation (or crisis and dialectical synthesis) is just beginning. Or Shimoku-sensei will deploy Risa in full girl-to-boy crossdresser mode and set her after Hato-kun, so no matter how hard he tries, he still ends up in gender confusion land.

As for Madarame, he needs a new lurv interest to make a tangle work. Perhaps he will surprise the heck out of Keiko next time and call her bluff by inviting her out of a not- at-your- club rai-ju Saturday afternoon date. He must have some familiarity with Train Man (or its Genshiken- verse analogue) and he has, through Saki learned the value of better grooming and dress. In his mind, while Keiko the pest would be completely off-limits for romance or club visitation action she would make a great safe practice date. And that might get her off his case too! All he has to do is behave well so that Sasahara doesn’t get annoyed. She isn’t an otaku, her job makes her a financial predator that trades on male loneliness and longing and her previous teenage Gayaru misbehaviour and lack of University socialization paint her with lower class behaviours and ambitions. Never underestimate social class subtexts in Japanese manga or larger Japanese society. No danger that she will pop up dressed as his favourite loli 2D chara and break his heart, but it would stir the pot a bit.

About time for Genshiken love triangle/ quadrangle/ tangle, along the lines of a Shakespearean love comedy. At least no one is yet smitten with a donkey.

Then again, there is always Kuchiki.

random endnotes:

1) lit. “the deny-er”. Used metaphorically against the classic catholic concept of the turning from god as absolute sin, see for example Carbonne14‘s Le Dortoir: In the full version, a man returns the the ruined orphanage dormitory of his youth, enters the classroom, sees the word “dieu” (god) on the chalkboard, angrily rubs it out and gets ready to blow his brains out.. See most of it at: www.youtube.com/watch?v=5yzrUH2bBNE. And yes, you should grab a beer and watch the whole effing thing, because it is damn fine!

Reverse pairings: Ch84/85

So, is it Fantasy x Reality, or Reality x Fantasy?

Fantasyxreality_Gen_084_015web

“There is a robust literature in Japan on the reality of fiction, including contributions by psychologists, manga scholars and academics from a variety of disciplinary backgrounds. One leader in this has been Saitō Tamaki, who has conducted clinical work with so-called otaku (specifically, fans of anime, manga and game) and written widely on otaku sexuality (see Saitō 2000). He proposes that due to an absence of Platonistic ideals, fiction in Japan has not been seen as necessarily subordinate to reality or striving to reach it.
Contrary to the idea that otaku are immature and confused about the boundaries of reality, Saitō argues that otaku have in sustained interaction with fiction developed a mature awareness of reality (Saitō 2000: 279-282). They are extremely strict about observing the distinction between fiction and reality (Saitō 2007: 227). As Saitō sees it, otaku are those with an affinity for “fictional contexts” (kyokō no kontekusuto), or those who react to fiction itself as a sexual object (Saitō 2007: 227).
Otaku realize that the object of desire is fiction, and desire it precisely because it is fiction. Anime, manga and games provide them “an utterly imagined space with no correspondent in the everyday world, a space of perfect fictionality…deliberately separated from everyday life” (Saitō 2007: 245).37
Thus while representations of sex may be radical, otaku are by and large sexually conservative in their daily lives.[emp. added] Saitō specifically defends lolicon and stresses that it is not an expression or symptom of pathology among otaku. Ironically, he implies that the United States and Europe, which have not established a distinct and separate “fictional space” (kyokō kūkan) and therefore cannot accommodate lolicon, might in a sense be less mature than otaku. (Azuma, Saitō and Kotani 2003: 182).”
– Lolicon: The Reality of ‘Virtual Child Pornography’ in Japan Patrick W. Galbraith, Image & Narrative, Vol 12, No1 (2011) PPS 105-106

It would seem that Kio Shimoku has a beef with professor Saitō Tamaki. Sure thing they are separate. No bleed over whatsoever. Private space and public space, just as always in Japan.

La la la…

Lest we let Kio Shimoku continue to slip a fast one past us, it would be wise to remember that a strange double “dance” has been going on with Madarame and Hato for a while now. Sure there is some tentative homoerotic frisson (which is an excellent smoke screen in itself, as well as fine comedy), but for the most part, the story dynamics have played out as each has confronted his own idealized, unobtainable crush.

Crushes 2 : Boys 0

Both are completely hopeless in the face of the wimmins precisely because their characters have been molded by their tastes in fringe, highly libidinized popular visual culture materials.

Mada is a moe-freak, dangerously close to being a full-blown lolicon.
Hato consumes tons of yaoi.
Both seek to live by the code that “reality is reality, fiction is fiction”.

How’s that working out for you guys?

Hato! Stop trancing out while staring at Mada’s neck!
Mada – you can drop the wallowing act, now that Keiko has blown your cover!

All romantics Gen85_017The last time I saw Richard was Detroit in ’68 And he told me all romantics meet the same fate someday; cynical and drunk and boring someone in some dark café You laugh he said you think you’re immune Go look at your eyes they’re full of moon You like roses and kisses and pretty men to tell you all those pretty lies, pretty lies. When you gonna realize they’re only pretty lies?

He put a quarter in the Wurlitzer and he pushed three buttons and the thing began to whirr, and a barmaid came by in fishnet stockings and a bow tie and said “Drink up now it’s getting’ on time to close”

“Richard, you haven’t really changed” I said It’s just that now you’re romanticizing some pain that’s in your head. You got tombs in your eyes but the songs you punched are dreaming.. Listen, they sing of love  so sweet, love so sweet, when you gonna get yourself back on your feet?
– Joni Mitchell – 1970

Shimoku-sensei is no slouch when it comes to depicting the realities of “real” intimacy, especially when they grind up against odd enthusiasms. Who cares if Spotted Flower is an alternate Saki x Mada universe. Yo Otaku boy! Your young wife is gravid and horny – pay attention! Soon you will have a child to deal with! Hell’s Princess is even more fun. Tough love for Otaku time. What is more important; that crying baby, or the two tons of Otaku/ fujoshi/ goth loli crap lying about your apartment?

Decide now!

One would think that fujoshi fantasies pose a similar risk to the Genshiken females, Perhaps modern fujoshi desire has already been normalized into Japanese society? Perhaps it has been judged harmless fun; a sop to powerless school girls and office ladies?

Are fujoshis safe from “the bleed”, as long as they are careful not to get caught shipping their high-school friends?

“The phenomenon of BL as a male-homosexual text but written and read by mostly heterosexual females piqued the interests of researchers who largely employed it as a case study of social and gender studies. One of the most popular theories to answer the question of why girls love BL is escapism. Sociologist Chizuko Ueno argued that females can experience the freedom and ambition they are prohibited from by relating themselves to the “boy” in the BL text (Ueno 1998, 127). The identification of female readers with a boy character is made possible because of the androgynous nature of bishōnen, which Ueno calls the ‘idealized personification of self’ (females) (ibid, 131).
Another notion on the subject was also made by author Azusa Nakajima, stating that girls can escape their sexual inferiority by associating themselves with the uke in BL (Nakajima 2005, 323–324). This theory sounded more reasonable to the public, especially remembering that this theory was proposed by Nakajima, who was also active as a BL novelist under the pseudonym of Kaoru Kurimoto.
However, opinions towards this genre have changed and BL is in dire need for researchers to study it as a text instead of a superficial reflection of mentality of its authors and readers. First, there is now greater diversity in readership motivations. While BL is still regarded by some as a ‘massage space’ free from forms of oppression unique to individual readers (Fujimoto 2007, 42), BL as a sub-culture (Ueno 2007, 36), is also enjoyed as a form of entertainment as opposed to escapism from social insecurities (Kaneda 2007, 13).
There are also differences in the emotional identification of readers. Female readers cannot be generalized as identifying with the uke as the one fulfilling female sexual roles; readers can empathize with either the seme or uke (Mizoguchi 2000; Yoshinaga 2007), to both the seme and uke (Nagakubo 2005, 259), or to neither and instead enjoy the third party voyeuristic view (Mizoguchi ibid.; Yoshinaga ibid.).
Hence, it is impossible to reach a general consensus on the BL reading phenomenon, given that BL works have expanded diversely and taking into account the tastes of readers.”
– On The Iconic Difference between Couple Characters in Boys Love Manga; Febriani Sihombing, Image & Narrative, Vol 12, No1 (2011) 152-153

This leads to a curious question of societal accommodation vs female agency within the Genshiken story. The new gals (no, not including Hato) get to grind up against Hato, but reveal little in the way of past ostracism or persecution for their interests. The last woman to have to deal with the fantasy x reality problem was Ogiue.
She got a “male” role in the sense that the conflict between her fantasies and reality lead her to act out a series of impasses (jumping out of windows, retreat into heavy yaoi dojin production, running away) that she solved by heroic (yet still over the top ) actions to counter and or make peace with them.

She dealt with hers, then Mada had his and is chewing on the aftermath, and now Hato is right in the middle of dealing with his. He’s going to have his own personal ship-all-boys-naow!!! nemesis as a sister-in-law.

Compared to these, Ohno is barely out of the gate in the suffering sweepstakes. Her cosplay passion, her strong relationship with Tanaka and the relative lack of demons in her anxiety closet make her problems too comic-relief for a serious multi-chapter angst fest. Two chapters and a large bottle of sake and alls well that ends well.

None of the other Genshiken characters have yet to confront a tragic fantasy-reality bleed-over, so none of the other characters will get to grow to find true love, or properly make peace with the real world.

Once again: Disenchantment is the sacrament of Modernism.(tm)

Yajima could use some demons! Shimoku -Kami (like jump magazine) demands suffering and struggle as the price of personal growth! Unrequited Hato-lust by a big hefty girl would be a good start. Someone is going to have to take over the Genshiken leadership and Yajima is the natural choice, but only if she undergoes some transformative character growth spurt.

Sue is out due to the alien factor, so is drunk-girl (oops Yoshitaki), but Yajima displays little passion and no one is mentoring her.

Six current Genshiken members, no new members in sight: Sue and Ohno are out of the running.  Madarame is an alumni – unless he decides to go take a grad degree, and even then past presidents are supposed to stay in the background. (but look how he takes sempai-ship when needed – no sou-uke waffling this time!) The same rule crosses Ogiue off the list.That leaves Yajima or Yoshitaki… and Hato.

So herr Rommel we meet again web

Another blogger opines:

“Sue is at the opposite extreme, a foreigner whose knowledge of Japan is almost entirely taken from otaku culture (though she does know her Buddhist chants). She communicates by quoting manga, and cosplays possibly more than Ohno. She seems to be in her own otaku subculture, puzzling even the other club members. But often it’s Sue’s imput that sets the direction of the club.
She came up with the solution to Hato’s change-room dilemma, and she also had some romantic advice for Madarame which he may or may not ultimately follow. In the newest chapter, when the school festival magazine seems on the brink of implosion, it’s Sue who mandates a new partnership between Ogiue and Hato. It’s very likely that Sue will never be Genshiken president. I think Ogiue’s concern for the survival of the club will lead her to a safer choice, either Yajima or Yoshitaki. But I expect to see more of the eternal spirit of The President from Sue in coming chapters.”
http://lintel.typepad.com/plentyofnothing/2012/01/the-president.html

So unless Hato goes hard gay for Mada with disastrous results and Sue, Yajima and Yoshitaki are plunged into some horrible fit of despair over their (minor) roles in encouraging the misunderstanding to the point where  3D male homosexuality shows up in the clubroom, (remember they can’t deal with it) the current setup is lacking in plot mojo.

One last permutation holds promise: “Out” Hato.

Now that “his little friend” has been jerking his strings even while he is in his protective Hato-chan get up, perhaps he will decide that he needs to drop the masquerade a bit:

Arm the playset field!

Perhaps he needs a little push – say a very, very, very solicitous visit from the student council boys, all swearing to respect his confidentiality and rights, while embarrassingly quoting all manner of anti-harrasement and tolerance regs that the student council has just adopted…

Followed by a visit from the campus LGBTQ group reps who will look him over with suspicion and leave a pile of brochures in case he has any problems that he needs their help with.

You think he’s turned red before?

Nothing like getting some well-meaning uncomfortable patronizing “help” to take all the fun out your fun.

Go ahead Hato; yell about how you are “not gay” until you are blue/ red/ purple in the face.

Thereafter, we could safely speculate that only counseling from Kousaka could calm him down:

“Yaoi? sure I  read that too, even Saki likes it! Cross-dressing? No biggie! Would I?  I wouldn’t say “impossible!”, but hey; I’ve got Saki – you fall in love with a person, not a car model, neh? Decide what YOU want – or not..  You don’t even have to.. Calm down, have a relax, follow your dreams, have some fun, yadda, yadda, yadda..”

In which case a slightly androgynous, not quite cross-dressing Hato gets to be the new Genshiken president.

Good Job! 

Guess I should put away the playset now.

pissed off mada

ooooohhh! he be rather annoyed!

Meanwhile, it looks like I am not the only one riffing about deceptacons:

Behold the perverse desires of cutlery:

“In this paper, BL works display differentiation between two characters that instantly introduced the readers to the coupling presented in the story. In written text, these differentiation are designated by a simple “×” between character names or descriptions, while visual image showed the iconic differences through character codes.
The differentiation in both written and visual text is fundamentally based on gender appearances and power or hierarchical dominance as stated by Nagakubo and Watanabe. However, this genre is still growing and is nurtured in part by the initiative of the BL fans challenging the clichés.
In present time, the combination of pairing has jumped the barrier of animate characters into the realm of inanimate objects, giving rise to anthropomorphic pairings such as spoon and fork, buildings, countries, animals, retail stores, stations, and weathers. [emph. added]
Determining the basis of differentiation in these novel types of pairings, whether fundamental or iconic will prove an interesting subject for the future.” – Ibid p163

Note: Febriani Sihombing (http://wiki.nus.edu.sg/display/TJPCC/Febriani+Sihombing) is Ph.D. candidate majoring in Media and Semiotics in Human-Social Information Science Department, Graduate School of Information Science, Tohoku University.

Her Gaming Industry News columns are archived here: http://www.gameindustry.com/tag.asp?tag=Febriani%20Sihombing&type=staff

Here’s one of them on ero games: Japan Loves Erotic Games: What’s The Problem? http://www.gameindustry.com/editorial/item.asp?id=564

“The internet community was shocked and amused by the game, which boasts a “right hand free-mode” feature, blatantly proclaiming to the world, that anyone buying this game will probably want to heh hem…pleasure themselves with one hand and play with the other. “But of course, an erotic game would fail as an erotic game, if you cannot fap on it,” or so I read on an erotic gamer’s blog. Needless to say, the release of the game was big news on Japanese Twitter that day. Erotic or R18 (rated 18 years old and above) games refer to games with sexually explicit contents. Games that depict violence and or politically/culturally sensitive topics are not called R18, if they do not center on love simulation with sexual themes.”

Welcome Ms. Febriani! You’ve just joined “the usual suspects”!

The tactics of mistake

wherein your correspondent finally winds up a post that started as a review of “Boys, Be Ambitious!; Shounen yo Taishi wo Dake!” that went nowhere for the longest time, even though he should be doing homework…

Shounen yo Taishi wo Dake! (Boys, Be Ambitious!) is a so-so drawn soft-pr0nish manga about a gormless lad who goes to an art school in Hokkaido and gets lucky, repeatedly. It claims to be written and drawn by HANAMIZAWA Q-taro (see also this), but is really written by a gaggle of graduates from a Hokkaido art school, to convince gormless boy manga readers to go to art school in Hokkaido.

It might be cold as heck up there, but you will get laid! (they lie!)

It could solve a lot of problems for the ronery boys, girls and in between – both real and imagined… If only…

It also illustrates a few problems with the kind of manga that Genshiken-ers and other dojinshi enthusiasts are reading and creating.

But first, a word from our sponsor:

I think that scanlators must have the best fun reading manga, even if they have the hardest time of it. In going slowly over the originals, photoshopping out and/or over the original text, figuring out the japanese, the idioms, the references – you would have to be without curiosity to not be drawn in by every reference that you need to track down, to get it all just right. Anime fansubbers used to be obsessed like this too – I remember the first grey copy of Spirited Away I saw, there were so many footnote subs running with the dialog subtitles as to shame an undergraduate essay. The immersive feeling was breathtaking. I guess this kind of obsession is now considered to be too invasive, but some of it still survives, for some series. The folks at Sumimassen used to go completely crazy on my favourite Despairing Sensei. Alas, that is all over now, and I have no idea if the detective episodes in the anime somehow refer to Genei Hakurankai.

Blogging has its advantages too: Half of me is greedily consuming slightly outre, often cheesy manga, the other part of me is trying to situate it in my crummy understanding of Japanese society, of otaku tropes, and of the various harebrained theories that I am trying to trot around the park. And I have an excuse to try to read almost any genre I can stomach, at least for a few pages, on the principle that I need more data.

Mmmmmmmmm Shoujo Manga! Do Japanese girls read this treacle! Wow! this one is a bit low-class (underage monogamous sex, wish-fulfilment fame and money, absent upper middle class parents, la la la, true love, happily ever after at 17) Who the heck is this aimed at.. (shibuya? gayu? yankee girls?) Oh look: another bishie male lead! here comes a shout-out to the “goggles” tribe.

Class-S Yuri? Wow! her first boyfriend caught a bad case of magic cock syndrome and acted like a snotty 14-year-old boy who thought he was a Host – plot crank! “She cannot trust men after this!” -crank- Query: are Japanese LFB’s subconsciously “absorbing a “don’t do this” lesson while they turn the page waiting for the next 2D thigh shot? Whooooeeeee! Here comes the “mother set up interviews for an arranged marriage” trope! What exactly are the current m-f demographics in Japan right now for teens, young adults, etc. A female shortage should cause a certain change in behaviour. Hmmmmmmmm.

Revolutionary Girl Utena? Don’t know if I can handle the pointy faced artwork and the high-school fight tropes without retching. Oh well, It is undoubtedly a milestone first order derivation from a certain groundbreaking historical gender-bender. ROSES! get it? ROSES!!! Oh wait, have to work tomorrow, and for the next few weeks, months..

Heh! free Penguin Musume Heart on Viki.com (wow: legal fansubbing model!) wait! Gahhhhhkkkkk! Oh! A “Sebastien” butler! Cosplay geek girl school election! Hijinks galore . This thing is still pretty lame. I wonder how much of this POS shows up in slightly mutated form in Genshiken. In SZS? Do I care?

Franken Fran: Huh! where the ^&%&^%* does this fit in? Oh fugget it!

etc…

Back to “art school confidential”…

Why am I bothering?

I wanted to take a break from challenging manga for a while, and since I wandered into the shallow end of the gender studies pool, I thought I would back out and try to find some good wholesome guy manga (Gintama to be dealt with later). Next thing you know I find myself in ecchi-land.

Besides – “art school confidential” is a subject dear to my heart, even if the
school ‘o’ art that our happy hero bumbles into bears no relation whatsoever to any real- life art school on this planet. Come to think of it, the movie was pretty fail as well.

Cue the synopsis that snagged me:

“Without doing much research on the school or surrounding areas, Hibino Ryouichiro picks an art school in Hokkaido. Tricked by the school advertisements, he goes to the campus only to find out it is a desolate and cold campus. The only glimmer of happiness for Ryouichiro are the girls on campus. Just hours after meeting Kisaragi Riho, the cute girl on campus, she seduces him only to find himself outside naked after she is done with him. Feeling heartbroken and used, he finds comfort in Aso Tomoe, who lives on the floor below at the dorms. Although it is freezing outside, it is hot underneath the sheets for Ryouichiro.”

That’s pretty well it, except that girl 2 refers to, and gets the boy to secretly refer
to girl 1 as “the slut”, boy gets to have pagan/ fake witchcraft sex with the hawt 28-year-old lady teacher (gets scared, runs away after), boy and girls 1 + 2 go out drinking and end up in a drunken threesome, boy makes a list of pr0n sex tricks to get the girls to agree to, gets caught out, boy and girl 2 break up, boy seeks solace in the arms on girl 1, and so it goes, on and on and on.

Looking at the mess askance, it is like Archie comics at an art school, with sex – the girls are even somewhat jp-manga-ized versions of Betty and Veronica.

Again why bother?

The smut pages are what gives it away: if Hato drew het scenes, they would be like this!!! They are usually full-page, focus on the girl (or woman) involved, are laden with flare effects and sensitive lines, with the women in the throes of pr0ny passion.

“My characters are making love”

Well, they are doing something.

The quality of the drawing in the rest of the scenes is just enough to bump the plot on down the road – lots of it is extremely weak, even factoring the comedic “chibi” sections, the fave crutch of deadline challenged manga artists.

One can surmise that the artist started with, and still dotes on static sex scenes in dojins, then tries to flesh out a plot as best as he/they can! A missing link in the jump from dojin to pro manga! Discovered in the wild! Wow!

The style, kleenex-thin plot and treatment of the sex scenes also follow the norms of soft core dojinshi and manga pr0n. The lad’s member goes transparent/ outline, and then disappears for a better view of the “action”. The girls look too damn young. Girl 1 is a dark-haired princess type, girl 2, is labeled “plain” even though she is of course good-looking, and the intimacy is fast, forced, lacks whole-body contact (sometimes referred to as cuddling), and affection. You would think buddy boy would at least fall in lurv, get a bit sentimental, but to him the whole mess is the frantic clearing an eroge. If he was caring and sensitive he’d be too much of a Mary Sue – this way the otaku readers can identify with him and feel superior at the same time. This is how we do characterization.

At least they use rubbers; two cheers for health education.

In contrast to a slew of other school harem manga (well this IS a University after all) the girls don’t just fall all over the idiot boy and flash their breasts and panties. All that relentless and essentially chaste teasing falls away before a “might as well get it over with now” approach to moar hawt secks naow dammit!

In her 2009 TED lecture Cindy Gallop put out a very short critique of internet delivered pr0n as default sex education for American males, and claimed that it made them lousy lovers (she likes younger guys, dates them, and gets intimate with them). She even tried to set up a web 2.0 site, to flesh out the idea, but it is pretty thin, looks like she hoped she could get an instant book off the effort and then gave up/ wrote one anyway. (the possibility that she could just be enjoying a bit of boasting as an experienced older lover should not be discounted either)

In Japan, the default sex education for males must be “modern visual culture” – as well as net pr0n. For females? Hmmmmmmm.

What of the “ambition” (or perhaps “daring”) of the title. Our hero isn’t very either,
unless you count his urge to go through a little black book of porny things to try on women once they invite him into bed. Most of the time he just walks around in a daze and gets hit on be bored females. Girl 1 seems to use sex as a way of getting and keeping friendship – our hero is a side interest to her between sessions with her (offscreen, never seen) boyfriend. She will even try to make friends with Girl 2, and then cement that friendship in the only way she knows how. The older (oops, past 25 – practically a crone!) lady professor is taken with the idea that the kid would stare at her boobs and likes the idea of going all pagan while making big ugly sculpture.

Girl 2 is mildly jealous of Girl 1 and wants to “lose it”. She also wants to try things
like a better hairstyle and nail polish, and going steady, which of course boy doesn’t notice and screws up. I would venture that %99 of all males in a relationship have fucked up on this one too, so it is cruel to expect buddy boy to come up with the accepted response, but heck, it lurches the plot forward, so whatever. Not that any Otaku out there are going to be suddenly more observant while dating because of this, but they might be a tad less bewildered when they mess up in the real world.

“Oh shit! I did that! Duh!”

Wonderfully educational this wish-fulfillment manga is, neh? Gallop also makes the point that pr0n grazing allows young guys (and I suppose young females) to sample and then draw their own personal lines, beyond which lies the “too weird” stuff, thereby constructing and validating a “normal” desire.

So a simple romp like “ambitious” can hide a few tricks in plain sight.

Like a dog that finally catches the car tires he habitually chases, and unlike the usual takes- forever- before- they- finally- get- up- the- courage vehicles such as “my too-hawt aunt wants me to seduce 14 coeds so that she can finish her research on Genji, but so far it’s an uphill climb, because I was bullied by girls as a kid” we get to imagine what happens when normal clueless manga lad catches the eye of one, or two, or three, or more manga girls. At least he hasn’t gone all “leisure suit Larry” yet. That will lose him his stunned deer- in-the-headlights charm.

He hasn’t forced himself on any of them, and the manga is doing its best to make such an approach pointless, so ‘Ambitious” gets another two points for teaching the important stuff first (no forcing, use a condom, smile and go for it) before it starts preaching fine points of etiquette and sensitivity. Oh, and the girls always take the initiative in sex and relationships – at least in mangaland. I am not too sure what the guy’s duty is. Perhaps the next few chapters will whittle it down to daily bathing and rudimentary grooming… and getting rid of that damn list. This kind of list-ticking-off seems to be an endemic error of western pr0n watching guys, and the habit looks like it is near universal. A ton of ero-games and ecchi manga, on top of the net-pr0n has probably exacerbated this problem – though it would be interesting to see if certain sub-forms and narrative tropes actively resist it.

If “Ambitious” is “wholesome”, normal, ecchi or hentai manga, it isn’t any worse – and perhaps a lot better than a previous generation’s reliance on skin magazines (hundreds of them, easily accumulated when the university students moved home in spring – literally bales of porn, free for the hauling! gahhhhhhhhhh!) Of course, there is an abundance of squick out there, but as Gallop suggests, it serves a small purpose as well.

Part of me can see the advantages, in terms of plot novelty, of forgoing another 20-chapter boy meets girl, girl meets boy, but both are too shy to confess fest to cut to the chase and tackle basic relationship etiquette.

To expand the argument a bit, a noted reviewer / blogger on Yuri, has often commented on how she gets bored and annoyed with what she calls “story A” (meet cute, overcome shyness and misunderstanding, declare love – even in face of societal pressure, have some idealized girl-sex, walk off into sunset.) I presume she means that she would prefer to see some more working out of the day-to-day frustrations of relationships, beyond simple fight- over-nothing-make-up-with-sex scenes.

The trouble is that within the flavours of Yuri that valorise f/f love (as opposed to
pure nasty hentai for LFB’s), the sex act itself is privileged – it is the holy defining
big thing of the relationship and the participants’ identities, and of course it is perfect and satisfying beyond all bonds of imagination. Uh huh! Yuri lesbian characters don’t have problems with one or more of the couple being lousy, clumsy, clueless lovers? having pr0nish lists? having personal grooming and hygiene issues?

I won’t even speculate about yaoi puppets..

Recall that monsieur Zizek characterises all eroticism and fantasy within the realms of repeated, epic fail.

Kio Shimoku’s Spotted Flower has a nice het couple with otaku backgrounds trying to get through their first few year of happy domestic life, with job pressures, looming GROW- UP!/ maturity fears and pregnancy making the road a bit bumpy. Whether or not they are alternate-reality versions of the Genshiken characters is beside the point. The big question is how they can reconcile their otaku tastes (and yup – these tastes are “libidinized”) with the “realities” of domesticity.

Here’s some rai-ju “same-old same-old” on the pr0n vs reality debate in the west:
(http://www.nytimes.com/roomfordebate/2012/11/11/does-pornography-deserve-its-bad-rap)

Shimoku-sensei (remember, his mangaka persona is a pseudonym – he is a well-married, somewhat normal-ised family man in the solid world) will occasionally try to work the difficult, grotty bits of “life” into his manga: A little searching will find grey zone scans of Digopuri /Hell’s Princess (Jigo Puri: The Princess of the Hell)
to frighten the heck out of prospective couples.

Could it get worse? How about a “yuri” manga based on this story:
http://www.japantoday.com/category/national/view/transsexual-denied-recognition-as-father

So… Did the “father” really want to do a full re-assignment, (news report unclear if the change was paper work or paperwork + surgery) or was originally-she just a bit butch and wanted to marry her sweetie? No matter, the ass-hat bureaucrats in Japan required her to “become a man”. Fine! Ok!, Happy marriage! Later, after a bit of turkey baster improvisation (or clinic fees) sweetie is with child. Surprise! The ass-hat bureaucracy strikes back: the kid is a bastard! What next? A tsunami? A power plant melt-down?

All epic Japanese tales either start with an ass-hat inflexible judgement from authority, or a suicide.

Do the vast panoply of narratives in manga offer more in the way of possible social scripts to Japanese readers than the more segmented paperback fiction/ comic book/ high literature/ net pr0n categories offer Western consumers.

Japanese auteurs seem far more willing to stretch a narrative beyond any reasonable limit if they feel that the story is gong nowhere. How else does one explain the movies of Minoru Kawasaki Fave domestic send-up: http://www.smh.com.au/news/film/koala-carnage-whale-of-a- film/2006/02/03/1138836416714.html

So, the problem resolves simply: Western fiction is too effing limited, and lingering puritanism segments fictional narratives in a way that undermines possible benefits to developing social scripts. Anyone want to ride this hobby-horse through some grad school halls?

Only Futurerama can save us.

Yawn!

Finally, as for real art schools:

1) Art school girls are exogamous. The last thing they need after a hard day of forced creativity is another budding narcissist under foot, especially one with an earning potential as low as theirs. Art-school guys, be ambitious, go after the Drama dept. girls. As a friend remarked: once one does you, it becomes a competition. Higgamous hoggamous..
2) Tip for getting along with your peers: NO ONE likes your taste in music – try
earbuds!
3) Learn to floss! Your breath stinks! Bathing and laundry are good too.
4) Protip: Boys and girls – resist the urge to chat up the life-drawing models. Polite interaction during breaks to demonstrate that you do not objectify them is ok – anything more ist verbotten! Snap out of it and keep drawing!
5) Sex is ok, but learning to draw is better than the “I know Kung Fu!” thing in the Matrix.

Ars longa
, vita brevis