Continuing on the theme of what a good composer Kio Shimoku is, chapter 118 provides a striking example of the rule of thirds. This panel divides into vertical thirds at the tree and the hank of hair between Sue's eyes, and horizontally along the fence roof, and at Sue's mouth.
For someone who works in a language that is usually written vertically, Kio Shimoku makes some lovely horizontal panels. This one from Genshiken chapter 116 puts me in mind of Dürer's Netherlandish Sketchbook, which was in a landscape format. Several times Dürer puts a portrait at the righthand side, like Yoshitake above, and a townscape to the left, so that you get a strong sense of person attached to place. In Rika's case, it's the Nikkō shrine, where her Japanese history nerd side shines brightly.
Top: Genshiken, chapter 107, page 17. Bottom: Shimo-imaichi Station. This stock image looks like it could be the very reference photo used by Kio Shimoku. [Probably not. Shimoku says right in the chapter that he went to Nikko to take reference photos himself. This is what I get for not learning Japanese.]
I feel the Nobel Prize has for once been given to someone I think is a good writer; what can they be thinking of? Anyway, Connie and I were sitting at breakfast talking about Kawabata, whose name I can never remember, and usually recollect it as being Watanabe, whoever he may be, when the radio suddenly announced that he had been awarded the Nobel Prize; at first I thought it was some aberration of sound in my head. He was the one I was complaining to you that he was so little translated, which will now change as I expect at this very moment the minions of Alfred A. Knopf are arranging for a great pretentious Collected Works or the like, which in this case is fine by me. Connie filched my copies of Snow Country and Thousand Cranes to take to the Vineyard to reread, else I would have sent them to you, but I think they can still be come by -- Berkeley has them out in paperback.
Edward Gorey to Peter F. Neumeyer, October 18th, 1968. In Floating Worlds: Letters of Edward Gorey and Peter F. Neumeyer, page 72. Somehow, Watanabe seems to be the default Japanese name when you can't think of the right one. Genshiken chapter 59:
Detail from the cover illustration of the recent Genshiken Nidaime Blu Ray release, showing the current Genshiken cast cosplaying Kujibiki Unbalance. Kuji-Un operates within Genshiken as Genji Monogatari or Heike Monogatari do within Japanese lit, or the Silmarillion within the Lord of the Rings, as a source of archetypes, a borrowed backstory to lend the characters an extra dimension (not 2D to 3D, but 2D to 2D+). Cosplay as a device for introducing archetypes into what is essentially a slice-of-life manga is pretty ingenius and might only really work in this manga. And it's the reason Ohno can never be allowed to graduate.
Ogiue and Sue have appeared before as Renko and The President, and Ohno as Kasumi Kisaragi. Madarame makes sense as Chihiro Enomoto. Typically Hato has now appeared as two different characters.
"As different as you can imagine. The air in Tokyo never feels soft against your skin. And those dry winds. The other day I was in the city shopping and a gust of wind blew the packages right out of my hands. They rolled and rolled, and there I was chasing them and at the same time trying to hold down my skirts. People are right about those dry winds."
Junichiro Tanizaki, The Makioka Sisters, page 129.
A shikishi is a squarish board of stiff white paper typically used as a vehicle for ink painting and calligraphy. A work of art created on shikishi can also be called shikishi, the same way an oil painting gets called a canvas. The shikishi format has been in use since the 12th century and is still going strong. Owing to its handiness for both drawing and writing with ink, shikishi is popular at meet-the-mangaka events today. The shikishi below was given to voice actress Uesaka Sumire by Kio Shimoku in honour of her work as the voice of Rika Yoshitaki in the Genshiken Nidaime anime. Sources: Top. Bottom. See also.