Otokonoko no Koto (About a Boy)
Oneshot (2016) by Komura Ayumi
Epilogue to the Ten/Taiyou subplot from Usotsuki Lily.
Warning: Spoilers and considerations of sparkling fluffy BL that depicts guys making out ensues.
Years after I wrote it, this blog’s essay on Usotsuki Lily remains one of the most popular posts. [https://heartsoffuriousfancies.wordpress.com/2013/04/15/the-place-promised-in-earlier-days-on-usotsuki-lily/] I never followed up on the ending of the long-running series (D’awwww near overload; aspirational fiction levels holding at %121; coolant pressure stable, maintaining course and speed.) but this one-shot compels me to grind away once more.
This is not the easiest task. Longtime readers of this blog will recall that while I remain mesmerised by the slashy impulses and rituals of the Japanese rotten tribes, their works are not my thing. Ayumi Komura can get me to make an exception and suspend my stick-in-the-mud oyaji discomfort with depictions of man-secks. Ok; Rendou Kurosaki gets away with it too and yeah, I would wonder how Kio Shimoku would pull it off. Kōji Kumeta would do one of his rude bara-lampoon pairings with an over-muscled nose picking hulk and the clueless Zetsubo Sensei, so he’s out of the running.
Ayumi Komura sensei can get my attention. What the heck; perhaps I can gain some abstracted flip-side impressions as to the jarring feelings that women have to put up with all the effing time when confronted by a relentless flood of male-gaze objectification. This is pure female-gaze titillation, even if my exposure is safely limited.
Ten is smitten with Taiyou and Taiyou who decided to “give it a chance” knows who he likes. They make out and tell each other how they feel for each other. The End.
More interesting is how Komura-sensei pulls it off.
From the scan-group:
“Today we have the long-awaited Ten x Taiyou BL one-shot by Ayumi Komura, first announced over two years ago at the very end of Usolily v17, but only recently released online a couple of weeks ago on the Margaret Bookstore. It’s called Otoko no Ko no Koto (About a Boy) and is an epilogue to the Ten/Taiyou subplot from Usolily.”
This is a stand-alone work, not run in Margaret Magazine proper but still flying under their flag. Margaret in this usage, in Japan refers to the flower we call a daisy, not the female proper name. Margaret Magazine is a long-running powerhouse in mainstream shoujo manga. Think of it as Space Battleship Shoujo. Do not underestimate its reach or its multi-generational influence.
In the earlier essay, I noted how the interaction between an author and their fans can, within the shoujo genre lead towards a mediating role which leads the author to posit aspirational ideals of good behaviour and practice throughout a long-running work. While Komura-sensei never made any secret of her taste for BL-ish subplots, she kept the impulse under strict control during Usolily‘s run. Once the subject of minority sexualities and gender expressions were brought up, beyond the gag of En’s crossdressing for non-identity reasons, they were handled seriously and with respect. This corner of the Margaret-verse was an extremely nice, sincere, safe, good-hearted and understanding place to go to high school. The social circles that the characters moved in were likewise all remarkably well-behaved – even enlightened. Gender roles were seen as superficially constituted of performative elements — at least until a ‘real’ trans-girl transferred in and her ‘reality’ shamed En. Notions of rigid sexuality were positioned as secondary to mutual romantic attraction. In short; an amped-up version of the mainstream contemporary love-conquers-all shoujo magazine catechism. D’awwwww and happy endings for most ensue.
For most: let the record show that Ten’s long-crushing friend Saeki gets a teeth-grinding, glaring cameo on the back page. Sorry guy: you can’t win against the Saotome family attraction field (and/or the Shinohara family is just too random for civilians).
On with the guided bus tour:
Ten starts his day by considering his upcoming date with Taiyou and which dress to wear. He then rejects girly attire in favour of a direct, non-gender-bent (or gender deceptive) presentation. The author was of course trolling the readership by using Otoko No Ko in the title – in its simple, original meaning as “boy”. This is after all a spin-off of Usolily. When Ten makes it downstairs, he sees that his brother En is in full girl-mode and spending time with Hinata. Fans get their En-crossdresses-for-other-reasons dose, their fakee-yuri moment and confirmation that, yes(!) today is the big day and Ten and Taiyou are going to spend it together. Out of the house he goes…
Wait a second…
Your older brother crossdresses and is spending time with the older sister of the guy you are sweet on? Ok, just sorting things out here, no biggie. By the way, when you crossdress, don’t you look a bit like your older brother in girl mode and wasn’t Taiyou once, for a brief instant smitten by the sight of her, uh him? And didn’t Taiyou once cross-dress as Hinata to fill in at the cafe? This is confusing. Uhh, right; Margaret Magazine crossdressing shoujo romcom. Never mind, pray continue…
Ten on his way to meet Taiyou is beset by a mushy internal dialogue of romantic self-doubt. Could Taiyou have been deluded by Ten’s girl-mode, crossdressed appearance? Nawww.. On the other hand Ten is convinced that:
Cuteness is Justice?
So Ten has a measure of giddy nonsense looping in his head. Wow; almost girl-like. Within the story-verse, Taiyou is a straight virgin guy who has decided to “give it a chance”. Ten’s sexuality is matter-of-fact gay but no mention has been made of any prior sexual experience. Ten’s virgin status is strongly imputed. We have a severely crushing young male on his way to his first possibly intimate rendezvous with his intended.
Add to the mix an extra consideration: Ten wonders whether he will still be as ‘cute’ to Taiyou after he hits his growth spurt and becomes more manly looking — as his brothers are. Come to think of it, Taiyou is looking a lot more manly of late as well. The mangaka has dealt with such body image self-doubts in Usolily and other works; Of note is one about identical enough but non-identical twins hitting puberty [Uno x Uno]. Not quite twincest, just a feeling of loss. Losing the ability to ‘pass’ as a girl is also a staple of otokonoko/ josou stories and rarer, more serious or more dramatic considerations of gender non-conforming charas. Props to sensei for deftly handling it.
While Ten does entertain a few fantasies, no life-shattering melodramas are deployed. Ten as a self-assured, self-proclaimed gay male youth isn’t a direct replacement for Margaret Magazine‘s core readership but he definitely is an upgrade in emotional awareness from the base guy model. He “wants to make more progress with Taiyou-san” and that means intimacy but his physical desire is interleaved with emotional considerations. He comes with a sympathetic head full of excitement and doubt.
Perhaps I overlook the obvious: A first-person internal monologue by male BL-gay Ten can consider things that a girl chara on her way to a first date might find exciting but would rarely be voiced or daydreamed of by a proper young female shoujo protagonist. Relationship-py stuff, for sure. Thinking about losing control after a kiss, wondering if she would “assault” the guy; wondering how her intended would react when they both got naked and touched; becoming overwhelmed with lust by her date’s “cuteness”? Oh my! Isn’t that a bit slutty? Perhaps I need to read more shoujo, or josei manga but it looks like snooping over Ten’s shoulder affords a young woman reader a bit more freedom to consider the exciting possibilities of carnality, as well as emotional satisfaction.(1)
As well, since Ten ‘owns’ his desires and sexuality, he is not tormented or conflicted about his desires — in the manner of a certain other young crossdressing guy chara experiencing their first flush of same-sex attraction. Neither is Taiyou a slope-shouldered 4-5 year older spineless near-hiki NEET otaku coward. The generic shoujo bishie-ness of the two lower the bar, but that’s the author’s signature drawing style, so we can roll with it.
Yuppers: I will be making occasional comparisons to Hato Kenjiro and Harunobu Madarame. Too bad Kio-sensei, you made it complicated on purpose — this is what you missed, or felt you couldn’t handle or get away with. This is also what a significant number of the slashy fan-verse wanted to see play out; fan-arted and fic’d over and mourned the loss of on Tumblr (etc.). Comparing how Ten x Taiyou fare and thinking about how the other pairing failed will underline the more obvious reasons why our latter two heroes found it impossible to hook up.
More on this after the tour.
Taiyou wants to go to a game shop, get a game, go home and play it, all while hanging out with Ten. Taiyou is acting perfectly in-character as a young guy — that is to say a tad clueless about Time, Place and Occasion. Ten zones out on Taiyou’s bishie looks, in a PG rated way. He even wonders again to himself if it was a mistake not to go out with Taiyou “as a girl” but immediately rejects the idea out of a sense of authenticity.
“No, no , no. That’s not right! That wouldn’t be me!“
Meanwhile Taiyou remains clueless. Before you can turn two more pages they are at Taiyou’s house, in his room and no one else is home. Da-bump!
Or was that Doki-doki?
There they are, sitting on the rug, leaning up against Taiyou’s bed. Taiyou is engrossed in his new console game when he finally notices a fidgety Ten next to him. One hand slides under another’s and then they smooch. Their second ever kiss.
Let me pause for a moment here.
As I mentioned, it has been obvious for a while that Komura-sensei really wanted to do a sweet little BL scene with these two. The big question, at least for me was: How does she balance the old-school BL tropes of ‘forcefulness’ and emotionally inarticulate homo-panic with the demands for an enlightened safe, affirmative and respectful Margaret-verse follow-through? Just how much BL and how much YA (Young Adult) can one slip into the mix?
Ten as the initiating physically smaller male chara is a well-worn tradition within rotten lore. On the other hand, he isn’t overpowering his conflicted higher-status/ more manly/ older-looking intended, even if he is leading. There is also the strong implication that as a gay young man who owns his desire, he has given some consideration to how it will manifest. Taiyou can be forgiven for still being stuck in “let’s see how it works out” mode.
Groping ensues and Taiyou appears to be overwhelmed but not repulsed. Ten goes into full romantic lust mode. Taiyou tries to catch his breath. Ten is serious and then –props to Komura-sensei for Ten’s polite asking for permission, even if Taiyou complains that Ten didn’t really wait for a full answer– asks Taiyou “do you mind if I do it with my mouth”. Props again to Komura-sensei for shifting the POV/ angle so that the ensuing pleasuring is left for the reader to imagine, or not.
Yeah; I remain uncomfortable with depictions of male same-sex intimacy. It’s the way I grew up. That said, it is being handled in such a way as to show respect and at the same time not frighten the horses (or the oyaji). Must stop whining. What if the same scene was deployed by Suemitsu Dicca as one of her ecchi josou/ otokonoko/ trap fantasies? Would it be different if it was drawn for the perv-lite male gaze? At least Ten would be crossdressing and wearing naughty knickers.
Ten has demonstrated to Taiyou that yuppers, he really, really likes him, ‘that way’. Taiyou is not just pleasured, but emotionally moved. Taiyou wants Ten’s clothes off too; “to be fair”. Clothes off at this point means shirts off or open — both sets of pants are still on, if not completely done up. Just for one last bit of self-doubt, Ten flashes on the idea that taking his shirt completely off will hammer home the point that (You don’t say, Mr Holmes!) he really is a human male.
Taiyou kisses and hugs Ten and declares that Ten’s skin feels “so soft”. Ten is vindicated! The guy he likes does not recoil in abject horror over skinship with him. The guy he likes is happy to hold him tight! Ode To Joy plays in vaulting cathedrals. Flocks of doves fly upward into sunny skies. (not depicted… budget limits…) Fangirls (and a few fanboys) go squeeeeeeeeeeeee! Love conquers all!
More hugging and smooching!
Egads! Ten! What are you doing with your hand and Taiyou’s blurry cone of light? (If this was het pr0n we’d get a far more detailed representation of someone’s junk. Ain’t that strange? What if it was gay pr0n? Hmmm. Seems to be a matter of gendered gaze.)
This is followed by Ten bubbling about how happy he is that the guy he likes liked it and…
No need to spoil EVERYTHING. Suffice it to say, Taiyou declares that he is doing this because of his own feelings and that he has not been fooled or pressured or bribed or whatever. He really likes Ten. They declares their love! More necking and hey, because they are young, in love and horny, more intimacy to follow.
Fade out, roll credits.
Note that even while Ten was overheating for his intended, he didn’t go into any Hato-esque BL fantasy overload. His fascination was always locked onto the present, immediate physicality of Taiyou. Likewise Taiyou is overwhelmed not just by being done but by the warmth and enjoyment of giving Ten a good squeeze, or three. And they both like to kiss a lot. They also seem to realise that they can explore a bit around the other’s ears, neck, chest, etc. Oh wow! Humans come with a full covering of sensitive skin. At least a tip of the hat towards something beyond kiss then grab between the legs. They appear to be able to figure out the rest of it as well. Someone might be presently initiating but no one has fallen into seme x uke roleplaying, let alone wrist pinning, ropework or butt-raping. On the other hand, they are not just ‘fooling around’ or scratching an itch. This is romantic sex; gay love-making depicted respectfully and with mindful attention displayed toward each other.
One more time from Takemiya Jin:
As I previously mentioned: this is an aspirational upgrade from baseline expectations; sometimes self-consciously described as ‘sparkling fluffy BL’ in acknowledgement of too-often indulged excesses.
You can get away with a heck of a lot in Shoujo manga.
We must also remind ourselves again that the primary audience for this work are women; even young-ish, teen-aged women. How Ten initiated intimacy suggests a tip sheet for an inexperienced, young (or young at heart) woman (or guy) to get things moving with the guy they like, who is being a bit slow on the uptake. (Naw, he is busy heavily processing those new affirmative consent rules… Ok, he may be just a little bit slow but anyway, it’s nice to be fancied…) As well, Ten’s experience of being overwhelmed with the immediacy of his physical attraction toward Taiyou validates his earlier otherwise embarrassingly creepy staring and stalking. We get the payoff, the raison d’être for the series’ relentless fixation on the physical attraction of attractive young critters of both sexes.
Attraction hits first: it’s all about looks. Then they get to know each other better. This is excusable and understandable. No turn red, avert eyes and stutter pantomime here. It might be shallow as all heck but everyone in Usolily-ville is good-looking.
Taiyou, likewise responds with his full attention once his desire is sparked. See how they fixate on each other. Such intense focus! Their feelings must be real. It says so in the guide at the back of this month’s issue.
The make-out scene, if Ten was switched out for a woman would be resonant to any male who has had occasion to let the woman lead. There definitely is an idealised aspect of real-life modelling to this narrative. The bodies are male but the mind directing the show and the audience she writes for is female. And slow-on-the-uptake guys are all pretty much the same across time, space and sexualities. Pay attention to how Taiyou reacts to the gift: He doesn’t just lie back and grunt. He is moved and tenderly responds.
Houston; we have a generic, idealised first intimate date scenario; with the curtains run down before anyone starts trying to act out scripts, expectations, roles, gymnastics, The Joy of Schmex Revised Edition, naughty underwear, porno movie scenes and the usual other 2 metric tons of cultural detritus to seem to get in the way of what used to be the most natural thing in the world.
Idealized intimacy that just so happens to be male:male, pulled off by Komura-sensei in best Margaret Magazine form.
No one gets fridged. No one goes on about the guilt they feel over their shameful desires or wonders if they are gay or whether it’s an exceptional case of “It’s you and only you”. No one even has to announce that they know what they like and that happens right now to be him. No one gets bullied, shunned or laughed at behind their back. No one is spotlighted and pushed towards acting out an in-story script that does not fit them. The only advice offered Taiyou was from Hinata (in flashback) to be sure of his own feelings and not “just go along” with other people’s expectations. And that advice was given as a private confidence from an older to sister to her younger brother. Older sisters in Japan have responsibilities. Because it is male:male, no one has to worry about going too far and getting knocked up. No one has to act passive or do all the work while the other fails to give the slightest indication of emotional affect.
The only thing lacking is a safety and hygiene lecture and a plug for young guys to get the HPV vaccine if they break up and start dating around. Yup, guys can get HPV-linked cancers in all kinds of interesting places too. En and Hinata could have delivered the same PSA. See this FCCJ article for alarming news about one anti-vax Japanese doctor and the ensuing public health fallout. See: http://www.fccj.or.jp/number-1-shimbun/item/892-vaccine-battle-stakes-are-high/892-vaccine-battle-stakes-are-high.html
Before we let this slip by we must ask: why does Margaret Magazine find it easier to show two young guys approaching intimacy than a girl taking an active lead towards her boyfriend?
Strange that a franchise that started as a modest high-school romantic comedy oneshot featuring a strong-willed kendo girl and her goofy Rurouni Kenshin cosplaying boyfriend would evolve over the years into a best-practice example of happy preach-by-example queer-friendly supportive La-la land romances (not La-la per se, that being a rival publication). This installment lacks Komura-sensei’s usual afterword pages of banter and fan interaction (one end panel deemed sufficient) or any of her fourth-wall-breaking asides; they are not needed. However the sensitivity towards minority sexualities and gender expressions remains window-dressing. The sermon remains firmly addressed towards the realm of heterosexual relations. Queer is used in the manner of a biblical parable. At least it is not used as a negative example.
“The last violence we impose upon the queer of our straight imaginations is the burden of our hopes.”
While enjoying an online course into the recent history of Japanese popular culture genres, I happened upon an early thematic division in shoujo manga stories. Some were wealth/ opportunity/ social mobility possibility stories. Others were fantasies of role-breaking and empowerment. The most overlooked, if only for their plain approach, were those typed as otometic stories. The ordinary girl who soldiers on un-noticed finds a quirky guy who believes in her. She returns his affirmation and they both decide that because they can support each other as they are that they can go on to live happy lives, perhaps together.
Even when the couple don’t walk off into the sunset, the heroine gets to say to herself: “…perhaps not this time but I now know that I can love and am worthy of love.”
I immediately suspected that this old-school form is probably being repurposed in contemporary narratives, with the field of subjects somewhat widened. Looks like it still works. I wonder if any senior yuri experts have considered looking at their genre through this lens? It could offer a welcome elaboration on the finer grades of ‘story-A’ out there clogging up Book Off.
The trouble with these speculations remains that while I have sufficient theoretical knowledge about the wide currents of Japanese fujoshi lore and story tropes, like Kio Shimoku I am cheating. He has probably read more BL than I have — if only for research. On the other hand, he had only to digest the representative greatest hits of the then somewhat-hidden 1980’s through 2006 fandoms. The genre has since gone mainstream and mutated with popularity, acceptance, wider thematic range. Parts of it have adopted a more respectful approach to the portrayal of male same-sex romance and intimacy. Who needs pissed off real gay guys slagging your publishing company and author? As well, there are young guys out in the boonies who can’t get their hands on geicomi and their money is as good as their sisters’. Big tent keeps the presses running.
It is possible that the pages of current shoujo manga magazines are stuffed to the brim with ‘sparkling fluffy’, respectful, sappy, aspirational male:male romance fare ground out by the ream for mostly female enjoyment. Off to the doujin shops if they want hawt and nasty. Once again, it is difficult to make sweeping generalisations without metrics and robust survey data. I would however be surprised if this work is ‘merely’ generic and not of any particular note. You don’t get 17 volumes plus spin-offs out of generic.
Or perhaps I just like Ayumi Komura’s drawing style and her cheesy stories.
The main weakness of the characters and situations in Usolily is that they all push towards a sanitized romantic ideal. The individuals portrayed are all too shiny. The body types — all lean and thin, big eyed and wispy haired are eye-candy. Even when they try to act jealous and mean, they fail at anything beyond a comical, cute petulance. They are like puppies and kittens. It’s hard to work up any measure of homophobic dread towards a bunch of puppies and kittens. Komura-sensei works this to the limits.
In contrast, the range of body types, character depth, conflicted backstories, social ineptitude and unease, shame, hurt and isolation in the Genshiken cast is far more engaging, leaning if not towards realism, at least towards complexity. But this hobbles the march towards romantic happy endings. Continuing pair-bonding thereafter is likewise not guaranteed. The Usolily cast may have their quirks and even come with minority sexualities and gender expressions but they remain steadfastly riajuu. Sou-riajuu. En is riajuu. Hinata is riajuu. Even Samurai guy is riajuu; he might as well be a sailboarding enthusiast or rock band guitarist for all it has affected his life, social interactions and chances at love.
Flip through the back pages of a certain subset of Genshiken fandom on say, Tumblr and you will soon be overwhelmed at the number of simple, naive, sparkling & fluffy alternative good endings imagined for Mada and Hato. You may well laugh but the desire was real enough in individual fans to impel them to create these artifacts. TenxTayou is the “pro” version of reams of fan-art and fic; serving as a nod, a tribute and a sui generis example. Next episode to show how a pro mangaka does a ‘curtain fic’. (happy pair goes out shopping for apartment furniture)
A pointless digression about Genshiken’s HatoMadaHato theme:
It’s all fiction, neh? Of course Mada and Hato could have “given it a chance” and might well have been convincingly written as happily fumbling at each other like Ten and Taiyou…
…If Madarame was 5 years younger, less of a spineless slave to his university graduate soon-to-be-lifelong salaryman role; less prone to taking refuge from his past failures by hiding behind his snake-man uber-creep otaku act; less inclined to seek validation and consensus from any group he found himself in and more able to focus on the one he decided that he liked… Oops — must drop the Saki torch song in there too, somewhere…
…And if Hato could have stopped using his love of BL as a perfect hidey-hole for his same-sex desires and emerging gender-fluidity; eased off on insisting that his gay-ish desires play out according to hardcore BL fetish scripts; not be haunted by the unrelenting fear that at any time his beloved fujoshi social would turn on him and cast him out in shame and despair and if he could for one moment admit to himself and to Madarame something more than “I will stop running away”…
(Nawww… We all know what he really loves.)
…And if the rest of the second generation fujoshi membership as well as Ogiue and Ohno could have stopped indulging his need to make a ritual gift of his male self to the female social, backed off, eschewed meddling, given him some space…
…And if a few dozen other If’s central to the characterisation of the entire Genshiken cast and the arcs of its narratives could be held in abeyance for just a few weeks of in-story time, even if it was subjective 2005-2006, then perhaps…
Or not. At least Mada and Hato could have had time to talk over a few more cold beer.
Tack back towards the main discussion…
Bummer. Stories come with their own internal logics, that’s the game. Sometimes a draw is the best that can be written out of what the author writes themselves into. Mada will screw up with Sue for sure. And I still think that Spotted Flower ch12 was a cruel trick. The later chapter with alt-Sue sporting ludicrously excessive silicone oppai hints at one particular idiot opening his stupid yap once too often. In Usolily, the only boob-fixated guy is a melancholy jerk (later redeemed) and none of the female charas feel concerned in any way by the proportionality of their mammaries to the rest of their frames. The whole huge jiggly boobies thing in CVJC feels forced, beyond hysterical. Earth to the men of Japan! The titties on the woman you love are perfect, now shut the fuck up and gaze into her eyes. C’mon, you trained yourself to get hot and bothered over 2D girls with battleship parts sticking out of their backs and backsides; this one should be easy.
A woman author working in anime, games and /or manga might give one of more of her yaoi puppets cat ears or other small exotic markers but she doesn’t load up their hairy chests with 8″ naval guns or put propellers on (or in) their pants. What the fuck is up with the (our) male imagination?
Tamaki-sensei and many others gloss over the difference (or differance) with the catch-all excuse ‘asymmetry’. Dragging out the unfoldings of how such asymmetries manifest is left to bloggers and other amateur enthusiasts. Likewise, calling a diffuse range of trope and chara weirdness a ‘database’ alludes to a pandemonium of forms but eschews further understanding in favor of the eddies and currents of taste within fandoms and ‘the marketplace’. Again I am unconvinced.
It seems more probable or at least more useful to note how exotic characters are deployed into situations to handle things that should be readily worked out by the usual suspects — but for complex societal reasons cannot be dealt with directly. As in the previous speculations on a wider application of the idea of iyashi, it is tempting to add an additional degree (or more) of narrative distance beyond the distance already imposed by a fictional setting and characters.
There is undoubtedly some deep-seated, underlying cognitive bias at work in this effect.
Is liking a good story a cognitive bias?
A further pointless digression about Genshiken:
One further compare and contrast from the Usolily-verse to the Genshiken-verse: The unappreciated subtlety of Keiko’s brutal after-club quasi-seduction of Madarame. See how the entire scene is played out in the major key of Keiko exasperation. I should have done more work on it, as many guys with a modicum of sexual experience — myself included have found themselves in somewhat similar circumstances. The woman is pissed off. She might be amenable to future or even near future intimacy but at the moment, she finds him (you) severely lacking. She is tired. She doesn’t want to put on a display of her needs or her interest for a stupid, hesitant, privileged clod sitting there in her space. She wants to be appreciated and respected. Not jumped or overpowered — appreciated. She wants to be the exclusive, unshakeable focus of his attention. She wishes proof that she fascinates. He can be embarrassed, flustered, hesitant, scared, but he must not take his eyes off her. (her face, not her boobies, uppen mit der gaze, boyo!) This is Japan. Everybody is supposedly an expert on things that are conveyed without being said. Right?
Dude! Pretend you are number one Host at her fave host club. Yup; feels like work. There is a reason why bargirls are stereotyped as weak only to the charms of their male counterparts.
He must propose, she will dispose and he should slowly proceed to demonstrate how her charms hold his undivided and unconditional attention. Most women have hair that smells good. It’s a residual pheromone thing. If she lets him get close enough, he can make a small show of being intoxicated by the scent, and it generally is intoxicating, so this wont stretch anyone’s acting skills. The urge to directly grab at her boobies or beyond must be resisted. Not, repeat not, act as President-elect. The room can catch fire around both of them; he must wait until she tells him to snap out of it and flee (with her — Duh!).
Ease back to the main theme…
Somehow in all the manga, games and anime that Madarame consumed over the course of his mis-spent otaku youth, he never once was clued in on this type of script; in comparison to the ones female fans were being force-fed daily through the actions of a panoply of character types. Guy-gaze narratives don’t bother with this sort of thing. (Lupin tries but as farce and Fujiko is going to get what she wants in any case – everything except faithful monogamy, so fair is fair) Just do the action adventure thing, try harder and compete with your rivals in endless level-up battles. Obey the Coach. Obey the Boss Take one for the team. Yawn!
Even when these stories bring a modicum of complexity to simple heterosexual romance, they rely on the tropes of character types, recreating in miniature the societal strictures that romance narratives seek to escape. Consider Isin’s Monogatari franchise; note the Araragi-Senjougahara relationship discussions. Hey buddy-boy, don’t collapse and roll over on her tatami mat. Pay attention to your girl-friend! It will be worth it. Araragi is once again “acting” in type, as is Senjougahara. Formulaic and reassuring as it is, at least a few suggestions are offered.
Note how her gaze is locked onto him. He knows enough about her to guess why she does this. Will he acknowledge her behaviour and attempt to reciprocate? I know it’s not alpha male behaviour but since when does buddy boy have the competence and earning power to act alpha? The whole alpha thing is a crock of male insecurity anyway. It’s a lot more fun this way. Hopeless! Senjougahara-san will eventually decide that Araragi is dithering and jump him. More work for the girl, again! Big, fearless vampire/ vampire fighter: hmmmph!
We seriously need some kind of aspirational Josei-ish genre for guys. Before this, we might need to see if plain vanilla Shoujo and /or Josei can handle a romance narrative in as simple and aspirational (as opposed to fantastic and/or pathological) a manner as TenxTaiyou was managed.
Did we really need to create shadow-gay characters to have two teens who like each other happily make out?
We tried dating sims and lookee how that skidded off the road. Yuri, even lesbian-approved yuri won’t work. The BL project, beyond simple matters of entertainment for fujoshi is sometimes used to posit the possibilities of romantic interaction freed from the constraints of rigidly gendered behaviour expectations — or at least elevated to a synthetic recreation of the supposed freedom afforded to male actors. Sometimes even the problematic role behaviours that can interfere and burden a guy are airbrushed away to make a point.
Why are such elaborate work-arounds needed?
(1) Contrast Ten and Taiyou to how Kendo girl freaked out when Samurai Cosplay boy kissed her collarbone in Usotsuki Lily. How many chapters did that take to work out?