Weekend Doujinshi Review, 15/3/30

Finally, I’m back to introducing you to doujinshi I enjoyed. Life has been busy, so it’s been two months again…

Amefurashi by Torimura (circle: Daiouika)

WARNING: This book is about sexual abuse of a child. If you’re squeamish about these things (and I don’t blame you if you are), please stop reading. I will not post scans of the scenes in question, but the subject matter is pretty jarring, so be warned.

 48459958_p0_master1200

There was a girl I liked. One day, her photograph was posted all over our town.
In the railway station, the police box, the shopping center, and lamp posts all over the place…
The flyer was everywhere.
After a while, the colors started to fade.
The paper got wet, torn, blown away by the wind. People would punch in holes with push pins.
Now, ten years later, nobody remembers her face.

These are the words of the opening narration of Amefurashi, accompanying scenes of a young boy helping a girl reclaim her school backpack from a creek some bullies had chucked it in. They laugh, and the girl, as little girls do, proclaims that she will marry the boy.
At the end of this prologue, the girl is pulled into a van and disappears, leaving the boy standing helplessly in the middle of the road.

48459958_p2_master1200

Cut to the present, the boy, now in his late teens, is a kitchen help at a family restaurant. His colleagues mention a pretty customer he should check out, and there she is – his childhood friend Natsu, who vanished all those years ago. She recognizes the understandably shellshocked protagonist (Referred to only as “Shu-chan”), and they rekindle their friendship and budding romance.

One evening, as they revisit a playground they frequented as children, Natsu reveals to the protagonist what happened when she was taken – in her words, by the imaginary sea-hares (Amefurashi) that he has been seeing since childhood: Her torturers dissected and studied her body from head to toe, and built a clone to replace her – the girl standing in front of him right now. She is just a fake, a copy of the girl who disappeared so long ago.

48459958_p21_master1200

The protagonist (understandably) struggles with his relationship with the girl, who implores him to help find the sea hares’ hideout, where the real Natsu is still imprisoned.
One day he overhears a group of girls talking about his friend having an affair with her teacher, and staggers into a back alley with a particularly high concentration of the imaginary sea-hares, where he finds Natsu about to enter a love hotel with an older man. Confronted by the protagonist, she explains that the only time she feels loved – even though she is a fake – is when she is with a man, that is the only time she feels human and alive, even knowing she has been replaced with a lifeless hull long ago.
The protagonist, after freaking out and smashing the gazillions of sea hares with a shovel, and scaring off the older man, takes her in his arms, and finally says it:

There’s no invaders replacing humans with clones. Where ever we search, there is no other, “real” Natsu.
You right in front of me, you are the real Natsu.

I am so sorry, for not being able to protect you that day.

This book is one of the most heartbreaking things I have ever read. Because of the deceptively cute art, you wander in with completely unprepared for a study of childhood trauma that is so well crafted it’s devastating to read. It starts out tentatively optimistic, when the two reconnect, then takes a downturn when we learn more about the construct she has built inside her psyche to protect herself, and then hits absolute rock bottom when the protagonist and his friends accidentally watch a bootleg DVD that shows her being raped as a child – all the while calling his name (I mean holy shit). And it wraps up in a fantastic last two pages, when both of them take a tiny, tiny first step towards accepting reality, and healing.

IMG_20150331_0001

I was very conflicted about whether to write about this book or not. But in the end, I chose that I almost had to because of the emotional impact it had, and because I decided it was really well crafted to have that effect.
The 80-odd page book is beautifully crafted with another limited-palette cover (just like kraken, which I wrote about in my first review) and extremely expressive black-and-white interiors, but obviously the story overshadows everything.

In the afterword, artist Torimura (a young woman) describes a nightmare she had about a mass of sea-hares invading her house, which became the basis of this story. At the end of the dream, they transformed into a human girl who asked “Will you love me if I’m like this?”

I asked her about the inspiration for the incredibly chilling depiction of child abuse and the resulting trauma. She offered this anecdote:

“The sexual violence was inspired by a book I read in junior high school. It was a collection of first-hand accounts from rape survivors, and among them there was one that said, ‘my parents advised me to keep my experience a secret. They said my family would live in shame if their daughter was thought of as a rape victim.’ I was just a junior high school student, but this chilled me to the bone.”

The artist: Torimura on pixiv, Twitter.That’s it for today! Sorry, just one for today, I’m a bit exhausted… Hope you enjoyed the read.In for more? Make sure to check the doujinshi tag for books I have previously reviewed.

As always, I welcome feedback and interaction, so I’d be happy if you liked/reblogged, or even commented. Questions and suggestions are welcome!

Comiket Special 6 – Otaku Summit 2015

This weekend brought with it the 6th Comiket Special, also titled “Otaku Summit.” Comiket Special is an event held every 5 years, in addition to the bi-annual regular Comic Market, and, contrary to the regular events, has an overarching theme. This time around, recognizing the growing international participation in the Comiket events, the organizers worked with the organizers of several overseas anime- and cosplay-themed conventions to put up a joint display for the Japanese fans. In reality, this was executed via booths much like the “corporate” part of a regular Comiket, and reminded me very much of the booths that schools and smaller companies put up at Tokyo Game Show. Which is in the same venue, so it’s not all that surprising.

The venue, unlike the regular Comic Market events, was at Makuhari Messe. This is actually rather significant, because it makes the Otaku Summit the first time a Comiket event has been held since the infamous “Makuhari banishment incident” in 1991, when the venue’s operators revoked the permission to use it’s facilities on extremely short notice. Comic Market has ever since been held at Tokyo Big Sight, which is scheduled to be part of the 2020 Olympic plan, and might not be available for years in order to adapt the facilities. So the Comiket Organizing Committee is short-pressed to come up with an alternative venue, and Makuhari is the only one in the area that’s comparable in size.

DSC_0115

View of the “Otaku Expo” portion of the event

 

Otaku Summit was free to get into – for the “Comiket Special” sales and exhibition area you were supposed to purchase a catalog (which is your “ticket” for most shows of this type) for 1,000 Yen. I can only assume the border between these two areas was the white wall visible in the picture above, because nobody asked me for my catalog even once on at least 3 trips back and forth. In all, the event used 5 halls of the 11 available, a little larger than Comitia but nowhere near as huge as Comiket. It was also much less densely laid out than the usual shows.

I got there at around 1:30pm, which is rather late considering that most Japanese comic events close at 4 (because they need to be out of the venue before 6), so I did not expect too much congestion.. Even so, I was a bit taken aback by how thin the crowd was. Either it wasn’t very well publicized (there were no signs outside the venue, so you’d never find it if you weren’t looking for it), or the theme just didn’t appeal to people a lot. Which is a shame, especially considering that a good portion of the event was completely free.

The first section of the show floor, the “Otaku Expo” (too many names for one event!), started with an exhibition celebrating the 40-year history of Comic Market. This was really, really cool to see. The exibition had reproduction of nearly all of the catalog covers, official bags, leaflets, and other goodies, and an extensive (even for statistics-obsessed Japan, this was impressive!) history description spanning 14 A0 (?) sized panels of text. Someone better extend the Comiket Wikipedia page to keep up!

DSC_0116

The Comiket History exhibition was super cool to see.

This was some intriguing and fun stuff, so I uploaded a lot of these to a Flickr album check them out if you want to see more of the history panels in particular.

Possibly the most complete collection of Comiket catalogs in existence?

Possibly the most complete collection of Comiket catalogs in existence?

Also in the Otaku Expo were a surprising amount of regional tourism boards, trying to make their towns appealing to otaku tourism with original anime-style “image characters,” or tie-ups with anime series set in the area. This has been a noticeable trend: LovePlus fans traveling to Atami with their virtual girlfriends, Lucky Star fans doing their new years’ prayers at Washinomiya shrine, etc.
Notable tourism exhibitors at Otaku Summit were the famous Fushimi Inari shrine, Kanda Matsuri, and Soccer team Kawasaki Frontale in a joint booth with Doujinshi printing agency Neko no Shippo.

DSC_0218

Kawasaki Frontale & Neko no Shippo booth

DSC_0225

A girl in Miko costume distributing flyers for Kanda Matsuri

I ended up getting a souvenir bag of various forms of Natto from Mito – Not something I expected to bring home from Comiket!

Past these tourism board booths, I finally found the international Otaku event booths. Overseas events and schools often have these showcases at Tokyo Gameshow, but I don’t believe I have ever seen them at a Doujinshi event – Barring Kaigai Manga Festa, obviously. 10-odd events from Rome to Thailand were exhibiting, so if you’ve ever been to an anime con overseas, there might be some familiar faces here!

DSC_0183

Anime North and Sakura-Con were among the names I recognized.

 

DSC_0185

As a native Austrian, I was delighted to see AniNite represented! Unfortunately, they didn’t have a booth and I couldn’t locate any of their staff 🙁

DSC_0223

The Kaigai Manga Festa booth featured video of their panel discussions, as well as works from their past guests. The organizers mentioned they would be announcing the date for this year’s Festa very soon!

DSC_0221

Each of the exhibiting con organizers was given some time to talk about their event – I saw some of the Toho Project related presentation.

The next area was the corporate booths – very much what I have come to expect from the top floor at Comiket, however the crowds were much more thin (I’m tempted to say it was half empty). As usual, these were present more for goods shopping than anything else, but it was nice to look at them without being shoved past for once.

DSC_0188

One of the many apparel and goods shops. Not having half of the lineup sold out by 2pm is very uncommon, once again attesting to the poor attendance.

Goodsmile Company's Nendroid display, commemorating their 500th figure in the series, was rather impressive!

Goodsmile Company’s Nendroid display, commemorating their 500th figure in the series, was rather impressive!

Finally, across an aisle reserved for cosplay, there was the more conventional Comiket part of the event the rows of fold-up tables occupied by doujinshi of all sorts, cosplay DVDs, crafts, photobooks… A lot of the more popular anime/manga properties had been moved to the second day, so the Otaku Summit had more of the crafts and reality based (railway paraphernalia, history, etc), as well as SciFi/Tokusatsu. As you can see in the pictures, the layout was more spacious than usual, making it feel much less crowded.

DSC_0232

The Doujin and craft area of the event.

DSC_0192

Medieval swordplay!

Medieval swordplay!

Model Trains!

Model Trains!

Truth be told, I found this part of the show a bit lackluster, there weren’t a lot of Doujinshi available, and the show lacked the usual bustle Comiket normally has. I expect that a lot of that might have shifted to Sunday, which also hosted the Kuroket, a convention solely devoted to Kuroko no Basket.
However, the Otaku Expo part of Saturday’s show was one of the most interesting experiences I’ve ever had at a Comiket event. I hope they keep this kind of thing up, and I’m looking forward to the next Comiket Special!