Love Hina MMF | Link Roundup 10.06.11

Your daily collection of Love Hina links.


The character bios promised yesterday will have to wait until (hopefully!) tomorrow, and being the first day, posting hasn’t really kicked off yet, but we’ve got a handful of classic links regarding Love Hina that are definitely worth a read.
Up first, Jason Yadao of the Honolulu Star-Advertiser shares a 2004 edition of his “Drawn & Quartered” column for the Honolulu Star-Bulletin contrasting the Love Hina manga and its animated counterpart:
“The manga’s gag focus keeps the pace brisk and wildly unpredictable, driving readers to want to learn what antics Keitaro and the girls will get into next. In contrast, the anime’s deliberate character-driven approach makes the story seem longer than it already is.”
Also, while digging around The Google, I stumbled across a few great observations on Love Hina from Dirk Deppey’s much-missed ¡Journalista! blog. The first comes from 2003, where Deppey shares his initial response to the series:
“The series allows its largely young-female readership to have it both ways — on the one hand, they can look on in voyeuristic fashion inside the mind of a healthy young horndog, getting what is presented as a privileged view of what makes him tick. On the other hand, at no point do the girls ultimately lose control of the situation, and the first volume reads like a virtual textbook on how to keep the boy in his place, always through organic storytelling and plot, without ever resorting to empty moralizing. Furthermore, there’s genuine teenage romance in the book, with all the fumbling and awkwardness this implies. Like I said, the appeal of the book seems pretty obvious.”
In that essay, Deppey goes on to contrast Akamatsu’s approach in Love Hina to Mark Millar’s in Trouble, a then-current Marvel miniseries that purports to tell the story of Peter Parker’s conception (because, y’know, people were clamoring for that). This sets the stage for a later epic takedown of Trouble. Only one sentence in the last paragraph mentions Love Hina, but as an exploration of how American comics failed to learn what made manga like that one successful, it’s fairly invaluable reading.
And finally, in response to an essay by Douglas Wolk about how sexism in mainstream comics drives women away from superheroes (any similarity to essays about DC’s recent treatment of Catwoman or Starfire is purely coincidental, of course), Deppey uses Love Hina to prove his point that fanservice isn’t really the problem in this 2007 entry:
“The notion that the boys-club atmosphere is deliberate on the part of comics producers, shopowners and fans assumes that they’ve actually given the subject half a thought, which I find hard to swallow. If anything, I think the mentality, when articulated, runs more along the lines of, ‘Oh boy, I’ve filled this place up with kewl stuff!’ Likewise, the notion that fan-service repels female readers is handily refuted by the continuing appeal to both genders of those two bookstore perennials, CLAMP’s Chobits and Ken Akamatsu’s Love Hina. It’s really a more a matter of accessibility and storytelling values than peekaboo naughtiness or kinky scenarios, when you think about it. (Quick: How many complaints have you heard about the tentacle-groping scene in Love Hina, or the bits where Chi attempts to imitate the pseudo-erotic girlie poses from Hideki’s porn-magazine collection in Chobits? Let’s see some hands.)”
That’s it for today…see you back here tomorrow! | Jason Green

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