‘Cos you gotta end with a BANG!
TSF Showcase 2025-14:
Trans Venus by Tamaki Hisao
Seeing as how this is the last TSF Showcase I plan on doing for a good long while, I wanted to end off this year with a BANG by highlighting one of my favorite TSF comics of all time. A comic that has been around for long enough to become something of a relic. A comic that proved foundational in my sexually stunted introduction to all things TSF. And a comic that I have referenced repeatedly over the years. It’s finally time to dive in and give a thorough look over Trans Venus by Tamaki Hisao.
Hisao is probably best known for his 1997 manga adaptation of Star Wars: A New Hope. A curious historical relic that came out in the Star Wars resurgence leading up to The Phantom Menace and one of the earliest manga released by Dark Horse Comics. As a Star Wars thing in 1998, it did quite well for itself, was likely the first manga many Americans ever read, and had an impressive legacy. Hiaso’s Star Wars manga won an Eisner in 1998 for Best U.S. Edition of International Material. Meaning that Tamaki Hisao is an Eisner Award winning mangaka. And this past year, Dark Horse launched a Kickstarter campaign for a hardcovered compilation of Hisao’s art boards, where it met its goal, raising over $400,000. I didn’t even know there was a market for original art boards, but I guess that goes to show how celebrated and impressive this manga is.
From what I can gather, this was Hisao’s big breakthrough as a mangaka, and he spent the next decade working on various sci-fi projects… before deciding to pivot in a different direction.
In 2000, he moved onto an original sci-fi work, Astrider Hugo, and beyond a blurb and covers, I cannot find much information about this one. Just that the first two issues, were distributed in North America by Radio Comix, a boutique publisher best known for… furry comics.
His next work was the four volume series Juuseiki Guilstein in 2001. Which, from what I can gather, is a mature sci-fi series that was partially localized by some obscure company as Teen Apocalypse: GUILSTEIN. It also received a 2002 film adaptation that blended 2D and 3D animation. I skimmed around an upload of it and it, uh, looks like nothing else I’ve ever seen before, I’ll say that much.
Then in 2006, he worked on Kidou Senshi Z Gundam: Hoshi o Tsugu Mono, an adaptation of the first Zeta Gundam: A New Translation movie. Which I think would be a point of pride for a Japanese sci-fi creator considering how ubiquitous Gundam is throughout the country. But I’m not a Gundam fan, and this manga is hard to find, so I don’t have much to add.
At this point, Hisao had been working on sci-fi series for a decade, established himself as a creator, but in 2008 he decided to branch out from what he has been known for with Trans Venus. A sci-fi action sex comedy about a teenage boy whose body gets hijacked by a perverted space goddess trying to save the world while having some fun in the process, much to the teen’s dismay. A pretty notable pivot, but one that feels like Hisao genuinely embracing eclectic ideas and passions he developed over the years, executed without fear, hesitation, or seemingly much oversight beyond some mosaic censoring.
A few months after wrapping up Trans Venus in 2010, Hisao acted as the artist for The Great Adventures of the Dirty Pair which… was a perfect fit for him. It’s more sci-fi, it’s full of hot girls, is based on an established and beloved multimedia series, and was even localized by Seven Seas in 2019.
This is an impressive track record, however, Hisao has since stepped away from drawing manga in over the past decade and change. I believe this is due to a hand injury, preventing him from drawing at the level and intensity required to make manga, though don’t quote me on that. I would have checked his Twitter for a direct source, but checking an archive of someone’s tweets is a mess nowadays, especially if they’re in a foreign language.
However, it is nice knowing that he is still around, and still holds a lot of pride for his work… especially Trans Venus. Dude’s still using Trans Venus key art for it for his Twitter banner, and is using his Twitter name to advertise how Trans Venus is on Manga Library Z. …Which was shut down last year, because Visa and MasterCard are a bunch of puritanical bastards who hate art. But through the power of crowdfunding, it is now back online. Hooray~!
I went ahead and bought a PDF copy of this comic via Manga Z, as I wanted to use the highest quality scans wherever possible. However, the PDF, which was a PITA to buy, looks pretty bad. The colors are wrong, the image quality is low, and it is a completely different scan compared to the ones available to be read online for free. In fact, they’re both actually lower resolution than the English scanlation I was reading. A scanlation from 2010 by Kusanyagi’s Translation Corner. …How does that even happen?
Ugh, I swear I could talk about PDF resolution and image optimization in comics all day if given the chance. But I’ll spare you folks the rant and get on with the showcase instead.
Chapter 1: The Giant Interstellar Woman
Trans Venus begins with high school age protagonist Takehiro Sudou suddenly finding himself in the woods. He panics as he realizes that he’s lost, trying to leave, yet he finds himself drawn in deeper by a curious noise. Specifically the sounds of a woman moaning in erotic bliss. As a horny teenager who knows these woods are frequented by young lovers, Takehiro cannot resist the call of the wild and steps forward, hoping to see some IRL pornography… only for his entire world to shift around him.
He finds himself in a labyrinthine series of enormous web-like tendrils, overwhelming Takehiro as he walks along the pathways. The sounds of moaning soon leading him to a cavern full of women, all naked, lining the walls, floor, and ceilings, their bodies partially embedded into the walls. It’s an erotic sight conceptually, but this scene functions as a sort of statement for the artistic aspirations of Trans Venus as a comic. A statement that the creator wants to make something erotic, yet also something grand, foreboding, a bit creepy, even surreal, and covered in lavish detail.
Detail that is similarly applied to the master of this domain, a giant “centipede spider” who crawls through the tendrils of this domain, carrying several women in its fangs and feelers, all covered in goop and begging for help. The centipede spider speaks to him, declaring that “All man… taste bad…” before bringing its legs down on Takehiro, nearly piercing him.
He runs away as well as he could, falling off one of the many walkways before him. The centipede spider shoots its webbing at him, saving him from a death by falling, but pulling him up between its claws. Takehiro panics as he feels his death draw near, only for time to freeze, his surroundings to change, and as he looks up, he sees that he is dangling between the fingers of a giant naked blonde woman. A busty bombshell who is definitely not the creator’s sexual fantasy.
The giant woman teases Takehiro for falling into such an obvious trap, but offers to save him from his premature death, under one small condition. That he lend her his body. Takehiro is naturally confused by this question— being the relative size of a pea doesn’t make things any better— and before he can mutter anything more than a confused “what” the giant woman opens her startlingly realistic lips, throwing him down her throat.
A moment later, Takehiro finds himself back in the claws of the insect beast, a second away from death, when his right hands suddenly move on their own, unleashing dual beams of light that decimate the centipede spider. The beast, while surprised, is not dissuaded and marches Takehiro once more, and in his panic, Takehiro hears the voice of the giant woman from earlier. She demands that he lend over his body and, when Takehiro does not respond, she decides to take her own initiative. Takehiro’s penis slams back into his crotch, boobs burst on his check, and his black hair billows and lightens. The centipede spider draws near, ready to claim its prey, and is promptly blown away by a powerful explosion.
Takehiro then wakes up, back in his normal world, standing on the street, right outside of the forest path. All seems well, but as he looks down, he sees a pair of massive boobs, with only shredded clothing covering the rest of his body. He panics, stammers, and investigates with his hands, feeling his crotch, and confirming that this is not a mere illusion, though his reaction is worth noting. Takehiro sobs upon realizing this is real, his eyes becoming stars, or vacant, and his body collapsing to the asphalt as he realizes he has transformed into a woman.
However, he does not have much time to bemoan his current situation, as his body begins moving against his will, with the giant woman taking control of him once more. And you can tell she’s in control because Takehiro’s transformed body gets a little heart tattoo on its right cheek. A cute yet subtle way of telling who is in control, though it’s easy for the tattoo to be obscured by any number of things. Takehiro is not too pleased about getting bodyjacked by some strange woman and demands answers from her, cuing her to exposit.
The woman introduces her as Selda of Vanamond. A self-appointed Goddess of Love and Fertility. Member of the vaguely defined Galactic Union. Protector of Earth for the last 10,000 years— excluding the past 500 years, which explains a lot. And a Data Creature. A being that lacks a true physical form, lives in an incorporeal realm known as a Data Space. They can typically only directly interact with the “material world” by luring physical creatures into a Data Space, or through the use of a host. As for why Selda decided to come back after half a millennium, the answer is… complicated.
In short, after human began using radio waves for communication in the early 1900s, they inadvertently clued in various aliens that their civilization existed, as radio waves travel through space. (This has actually been a concern of a few scientists and sci-fi writers over the past century, and is pretty much a well-established sci-fi trope by now.) But rather than attracting physical aliens, they instead attracted aliens for feed on data. Data Creatures or more specifically, Data Parasites, non-physical lifeforms that feed on various forms of data.
Sometimes they go after traditional types of data, like computer systems or networks, but these Data Parasites prefer to feed on biological sources. Extracting their memories, experience, character, and other personal information. Information that they primarily extract through sexual means, as sex is a means of exchanging information. It’s how two humans exchange the information to create life, and that’s… pretty powerful information if you think about it for a few seconds.
Takehiro listens to her words… but is not too persuaded by them. He is ravenously enraged that Selda would steal his body, and shape it into her personal image, something she curiously claims was stored within his genes. His reaction seems sensible— he just got body jacked by a busty blonde bombshell from the other arm of the galaxy. However, Takehiro’s anger is a bit… extreme. Losing his pupils, bearing his fangs, and deeply insisting that this is not how he is supposed to be. That he is a MAN!
To Selda however, these fiery emotions are just further cause to toy with Takehiro. Rubbing her tits knowing that he can feel everything, burning away the last of his clothes, and replacing them with her own clothes… well, if you can call them clothes. I’ll talk more about her design in a bit, but to put it reductively, she dresses herself in leather, looks like a sex worker, and skips down the streets of the city, looking for some fun. A human type of fun that she has been without for 500 years.
Rather than show us the lurid details, the comic instead jumps ahead to the next morning. Where a mortified Takehiro lays, surrounded by a dozen elated men splayed across a hotel room, reaching out to him. Selda took his body and had sex with at least a dozen men. Takehiro felt everything. And then she left him to sort out the aftermath. Thus ending chapter one, and I think now is a good time for a requisite tangent.
Tangent 1: Step On Me, Selda-Sama~♥~!
Now is a good time to talk about Selda’s design. I could try to keep an arms length and maintain a critic’s voice, talking about how I think her design takes a basic idea and executes it with the deliberate artistry of a true professional. …But I originally read this comic when I was 15 or 16, and this woman was absolutely a formative figure in my adolescence. So now, 15 years removed, I simply need to gush about how much I love her design.
Her wavy blonde mane of hair, straight outta the 80s, gives her an experienced, mature, and exotic look in the context of a Japanese comic. Her hairstyle, while attainable by Japanese women, gives her a foreign and almost exotic air to her that extends to her sexual promiscuity. Her face exudes confidence, every expression enhanced by the thick eyebrows, eyeliner, mascara, and lipstick painting her visage. While a heart on her right cheek alludes to a more playful nature. She might be a queen, but she’s also here to have fun.
Selda’s outfit of tight leatherbound clothes are a truly brilliant blend between revealing and concealing. Her arms and legs are fully clad in black leather, shielding off a significant part of her person while emphasizing her long and slender limbs. A ringed choker on her neck, seemingly teasing submissiveness, while never allowing anyone to grasp it, for she is a powerful woman. Someone that you think you can leash, but… you simply cannot.
Her corset emphasizes her slim physique, covering her back and sides while leaving nothing to the imagination, before leading into a pair of straps that barely conceal her nipples. Straps only held together with the use of a metal latch. Something strong, industrial, yet so tantalizingly close, if only she would let you reach for her. While her crotch is covered by a pair of implied panties locked behind a pair of corset-like straps that only emphasize her already impressive hips. Oh, and to fully sell her queenly nature, she walks around with a floating raiment, or maybe a boa, wrapped around her, drawing eyes, adding to her presence, and giving herself the illusion of class.
It’s gaudy, extravagant, probably very uncomfortable, but goldarn do I love everything about this woman’s look. This is before getting into her personality, which is just as good. She can be horrifying, overwhelmingly powerful, and a true threat who will not hesitate to delete something from existence. She is someone who could be this efficient, destructive, and domineering force throughout the galaxy… yet she isn’t. Because she does not need to be, and because, at the end of the day, she’s a teasing horny blonde lady who just wants to have fun.
Selda is a domineering intergalactic queen/goddess and an absolute tease who knows exactly how to get under Takehiro’s skin. She wants to drive him nuts, make him question things, and eagerly subjects him to various formative experiences to make him a more agreeable host. She does not want to hurt him, and does not want unflinching obedience. I’d even say she enjoys when he resists her, taking pleasure in his feverish rejection of her, but she also does not truly lash out at him when he defies her.
Like a true millennium-old character, she is experienced, does not let anything get the better of her, and approaches every situation with the precision and confidence of a pro whose skills have not faltered a day. No one is above her, yet she is down-to-earth enough to know that banter, bickering, and banging are what make for a good life.
I have never really traced the dots before now, but reading through this comic for the first time in roughly four years really made me realize just how much inspiration I’ve taken from her character over the years. …But I’ll save such reflections for the ending bit.
Chapter 2: Mahou Shoujo Hiroko
Three days after the first chapter, chapter 2 opens with Takehiro in his bedroom, where he has thoroughly smashed up the place. His closet is off his hinges and covered in bat marks, boxes are scattered everywhere, the bedding is haphazardly scattered. He is sobbing, desperately trying to get some sleep, clutching onto a baseball bat, before Selda comes from the ether, dressed in a torn up top and jean shorts so short they’re basically panties.
While she is not really drawn to imply as much, Selda is invisible to everybody but her host and a few aliens who appear later on. She is a horny data woman who only Takehiro can see, and who dearly wants to take his body for another spin. After last time, Takehiro is adamant about staying himself, and not letting her lay a finger on his body. He had destroyed his room in a rage-fueled attempt at retaining his autonomy, but Selda cannot be struck down with a bat, and all she needs to hurt Takehiro are her words.
She highlights how she gave him his body back, just as she agreed, and insinuates that the reason he’s so angry is not because he hated spending a night as Selda, but he loved it. That he cannot forget the thrills of being in a female body, of feeling everything the Goddess of Love and Fertility felt when she was in the midst of sex. She offers to teach him all of this, but all Takehiro can do is deflect, deny, and declare that he is a man. However, I think it is worth highlighting how adamant and pointed he is in this rejection.
Takehiro he grew up aspiring to be a man, a good man, if not a man among men. But over the course of one night, his body was stolen from him, transformed against his will, he was forced to experience sex as a woman, and it was incredible. Everything he thought he knew about himself is in jeopardy, and rather than embrace the new, he has chosen to become a shut-in. He destroyed his belongings, his surroundings, and his own little world as he rejects something he is terrified of.
It’s important to note his particular reactions. He gets blisteringly angry at Selda when she threatens to take his body, and when she manipulates him. However, when Selda teases him with a female body, highlighting how good it felt, he is deeply frazzled, crying, mumbling, barely able to offer a counterargument. Takehiro knows that he wants to be in control of himself. That’s a pretty normal thing to want.
But when the subject of sex and having a female body comes up, his reaction is that of someone conflicted, in denial, rather than someone confidently rejecting something. He knows she is right, but refuses to admit it. Because it would mean letting this interstellar body thief win. It would mean admitting that he fundamentally understood who he was and who he wanted to be. It would mean the end of him.
I’m not going to outright say what this reads as to me but, uh, I’m not exactly being subtle with my implications here. All will be confirmed in the last few pages.
While enjoying one of their animated bickering sessions, Selda highlights how Takehiro has a certain responsibility now. The centipede spider is still at large, someone needs to defend Earth from these damn Data Parasites, and how she cannot just switch partners. Takehiro’s stuck with her… until one of them dies. Takehiro asserts his autonomy, but Selda, realizing that this argument is going nowhere, decides to pull out one of her tricks to change the subject, taking her finger and sending an impulse from Takehiro’s dick, up his spine, and to his brain. An electric shock that turns him into a girl. …Sorta like in Electric-Exchanger by Neriwasabi!
Rather than turn him into Selda or a Selda-like form, this female Takehiro form is its own thing. Takehiro’s black mop protagonist guy hair becomes a shiny shoulder-length modern hairdo with ample volume and some slight curl— though it’s got nothing on Selda. His body shrinks, waist becomes thinner, and he gets big boobs, because… that’s just a genre staple at this point. You go on estrogen and you’ll get teensy boobs. But if you’re a TSF protagonist, you get boobs that are the envy of the girls’ locker room. I don’t make the rules, I just document ’em.
Naturally, Takehiro freaks out at having his body transformed, even calling his new higher voice repulsive, which I just read as deflection. Selda towers over him, saying that he cannot transform back unless he lends her his body, and as he decries her as a devil, Takehiro’s mom swings open his door. For the first time in what I assume to be days, she sees her son’s room, a complete mess, with a random girl she has never seen crouching on the floor.
Takehiro is put on the spot, where he quickly comes up with a fake name, Hiroko Take. (Which makes a lot more sense when written as Take Hiroko, with ko being a common ‘feminine suffix’ in Japanese names.) A fake reason for being here— being the manager of Takehiro’s rugby team. (Because that’s the manliest school sport.) And an excuse to leave, saying that ‘Takehiro’ is not feeling well before shooing his own mother away, running out of his house in nothing but a T-shirt, sweats, and sneakers. It’s all a panicked scree that leaves Takehiro rushing to leave his house, and his mother, behind, bringing nothing with him as he runs away to the nearest park.
With no home to go back to, and his body transformed against his will— again— Takehiro sulks on the jungle gym of a local park, periodically feeling his boobs, before smelling the Data Parasite pheromones. This is supposedly what lured Takehiro into the woods in the first chapter, but those were sounds, these are clearly scents, and if pheromones are anything… they should probably be scents. Selda assumes this is the centipede spider again and explains a bit more about these Data Parasites. Claiming that they suck out all the memories of their targets, breaking them, and moving onto another, rather than just copy it and consume it that way.
That does not really match what we see, as the Data Parasites don’t suck people’s brains dry or anything. But Data Parasites, as a general idea, are an interesting concept. I’m sure it’s not the first work to feature an abstract data eater, but this concept feels rather poignant in 2025. Where corporations and nations are desperately trying to accrue as much data as they can, often for the sheer sake of it, operating idea that ‘data is power.’ Though, these parasites treat data more like food, which isn’t how data generally works in the real world. However, these are aliens, so I’ll give this a pass. Because with aliens, you cannot assume anything. Salt could be more valuable than gold to them.
Anyway, Takehiro hears all of this and decides that he must kill this giant space bug, taking off his shoes as if he thinks he can squish a bug a hundred times bigger than him. Recognizing his gusto, Selda decides to give Takehiro a fighting change by triggering another change in his body, snapping to envelop him in flame, transforming him into… an overly sexualized magical girl. One that actually looks a decent bit like Valkyrie Yuuki’s magical girl uniform, just with extra frills and less cloth.
It’s an obvious send up to magical girl uniforms, but I also cannot help but view this as a deliberate contrast and compliment to Selda’s outfit. Whereas Selda’s attire is bold and black, oozing with confidence and experience, Takehiro’s is in many ways the opposite. Adorned with ribbons, frills, being primarily white, colored like a textbook sailor fuku. His chest is covered by nothing but some cotton frills and a big bright red ribbon, making him look more like a present. Obscuring his ‘developing’ chest in a way that insinuates modesty, yet only draws the eye because… because of the giant red ribbon. (Takehiro is probably a minor by the way.)
Arms are covered in full arm fingerless gloves adorned with black ribbons, obscuring the arms in a hint of modesty that only draws the eyes to the exposed shoulders. His legs are covered by white stockings that end in a band of frills, exposing a flash of absolute territory before reaching the skirt. It’s a poofy body of lace that obscures any underwear, but billows and moves in such a way to create the regular illusion of a panty shot. While the backside is affixed with another huge bow, drawing eyes to the rear. All of which is tied together with some black heels and a pair of angelic wings hair accessories. The heels adding a hint of maturity, while also reinforcing the idea that he is not fully matured, while the angelic wings are obviously meant to convey innocence or purity.
It is evocative of youth, modesty, and is distinctly girly whereas there is nothing girly about Selda. And while it is not hiding its sexual influences, I find its execution to be far more tongue-in-cheek than a lot of other hyper-sexualized designs I’ve seen over the years.
Needless to say, Takehiro is deeply frazzled by this latest transformation, shouting at Selda, affirming his masculinity, before storming off to take care of this Data Parasite. Because the sooner he goes in and kills this thing, the sooner he can go back to being a guy again. …And wearing normal clothes that don’t draw in onlookers.
Takehiro follows his nose to a construction site where oodles of women are walking through a gateway into Data Space, lured in by the pheromones. The two stake out the sights, as I guess rushing in is not an option, leading Selda to further tease Takehiro, demonstrating a trend I was talking about earlier in this section.
She talks about the virtues of female masturbation, how their pleasure loops continuously, letting them cum as much as they want, unlike the stop and go nature of male masturbation. It’s something that weighs on Takehiro’s mind, as he still vividly remembers the orgy Selda dragged him along to, and rather than getting pissed at her, he sulks, panics, stews, and bashes his head against a metal pipe as he tries in vain to clear her words from his mind.
Fortunately for Takehiro, he finds a distraction as he spots a familiar looking girl walking into Data Space. A girl who was seen briefly at the start of the chapter, but is finally given a name here, Yukari Harumisawa. She’s Takehiro’s childhood friend, classmate, and her primary physical feature are these weird hair buns she has that leave strands of hair poking out behind her head. She’s a major character, though her actual characterization is largely just that of a supportive and desired love interest.
Takehiro rushes in to save her from entering this Data Space, but thanks to the pheromones wafting through the air, Yukari is unable to constrain her libido and gives Takehiro an enthusiastic smooch. As Takehiro recoils from this non-consensual kiss— pheromones are basically mind control— him and Yukari tumble backwards into the Data Space, where he is greeted by the Data Parasite responsible for this. And it’s… a giant octopus. Yeah, can’t say I’m surprised. The octopus, recognizing that his spell is not working on the magical girl before him, proceeds to send dozens of brainwashed women at Takehiro in order to make him submit through the power of titillation and molestation.
With glazed eyes the horde latch onto Takehiro, tearing away his clothes and attacking him with their tongues, licking his nipples, thighs, arms, and crotch as he is reduced to a moaning mess. Too overwhelmed by the new sensations erupting across his body to think about fighting back. So enraptured that he feels like he is going to “lose it all.” While Takehiro experienced the swelling act of sex before, this type of pleasure is different in three ways:
- He is fully in control of his movements, from the twitching of his limbs to the moans coming out of his mouth. Before, Selda was in control, she was initiating things, and it was possible for Takehiro to somewhat disconnect or dissociate. Here, it’s all him.
- Takehiro’s body is not someone of a different figure, age, and likely race, he is an (explicitly idealized) female version of himself. It feels closer to his body, more familiar, and the differences, the new parts, the heightened sensitivity, would feel more potent than when he was adopting Selda’s form.
- Rather than being raw sex, this is foreplay, revving up Takehiro’s body, getting him into the groove, and titillating parts that Takehiro has never had titillated before. …Oh, and it helps that it’s women doing this, as Takehiro ultimatelly prefers women.
Anyway, Takehiro gives up after two pages of this, begging Selda to take charge, and she promptly does. Shoving him out of his own head, transforming his body, and basking these women in a radiant array of light. Light that conveniently blocks the pheromones and makes them think that this was all a dream. The octopus ignorantly assumes that Selda is a Data Creature just like him and attempts to take her over. But Selda smacks his tentacles away, mocking him for thinking that they are even close to the same level, before blowing him up, claiming that all the love and pleasure of this planet belongs to her.
With this alien fried, Takehiro asks Selda about her motives, if she is just here to invade Earth. She explains that she is not, and is merely watching, admiring these creatures as they develop complex systems, network systems, and developing the “nursery garden” for something great. It’s another interesting concept throw in somewhat flippantly. Implying that Selda is nurturing and protecting Earth as she believes it will create something like her, a marvelous Data Creature who she can do… something with.
Rather than develop this train of thought any further though, Selda proceeds to tease Takehiro. Declaring that now that she’s in control of their shared body again, she’s gonna have some fun with a couple dozen guys. Ending chapter two.
Chapter 3: Double Life; Double Problems
The following day, Takehiro is trying to get back to his normal life. He’s back to his boy self, wearing his school uniform and backpack, walking to school. I would ask where he got his uniform and backpack, since both were destroyed in chapter one, but… Selda probably made them with space magic. Takehiro is just trying his best to ignore the half-naked demon floating around him and get back to a routine, but as he looks at the students passing him on the street, he cannot help but think about erotic fantasy, imagining girls having sex with one another and completely losing his composure.
Selda explains that Takehiro has not maintained his mental balance after the other day, and needs to jerk off before he can function in human society again. Teasing him by insinuating that after experiencing a female orgasm, he cannot go back to masturbating as a man. Takehiro does not have a good answer for her— he never does— and instead bemoans his situation, shouting that he just wants to be a “normal human being.”
Takehiro is eventually able to maintain his conviction while around his friend. A casual-looking blonde guy who doesn’t have a mouth, always keeps his eyes half-opened, wearing a shirt with a big star on it. I don’t believe he has a name, but he reminds me of Jason from The Wotch, so… I’m gonna call him Jason!
Jason informs Takehiro that a host has been coming to the school the past few days looking for him. One of the guys Selda hooked up with, who Takehiro punched in the face at the end of chapter one. Well, off-screen after chapter one. Jason further adds that everybody was worried about him after he skipped a few days, which is a nice little detail. A lot of protagonists in the vein of Takehiro tend to be treated as disposable by their peers to make them more ‘relatable’ to the core demographic.
As they near the school, Takehiro runs into Yukari, and the memories of the kiss the two shared is enough for him to jizz in his pants. He jizzes so hard that he collapses onto the ground, running away before Yukari can lay a finger on him and send him into a nonstop infinite climax. Instead, he makes like a typical teenager, heading to the local 7-11 (you can tell from the stripes) to bust in the toilet and change out of his tainted underwear. Selda predictable teases him over this, saying that he wanted to do something dirty with Yukari the other day, and Takehiro can’t really argue with that.
Presented with this torment, and thinking his life can’t get any worse, Takehiro grabs a rope and fashions a noose to kill himself, like this is a 70s manga all of a sudden. However, he stops as Selda spies the host who was looking for him. A handsome man in a suit and black glasses who’s eager to get revenge on the punk who put him out of commission. He’s blocking the only road to school, leaving Takehiro with little choice but to disguise himself. …Lucky for him, he’s a TSF protagonist, and all it takes is a finger across his spine to GIRL SHOCK him. …And turn his uniform into a standard sailor fuku. How convenient!
Takehiro wants to just go back to being a guy ASAP so he can enjoy a normal day of school. (Un)fortunately, Selda planned for this and registered ‘Hiroko’ with this school as a precaution, thinking that something like this might happen. I’d ask when she filed the paperwork— did she do it last night while Takehiro was dazed from high impact sex? But it doesn’t matter. This is part and parcel of the genre. The TSF’d school boy, now a hot school girl, must attends the same class, be immediately loved by the men, befriend his crush, and get tossed into awkward situations aplenty.
What isn’t part and parcel of the genre is how there’s a dummy of Takehiro attending class. One that’s being puppeteered— via hand puppet— by Selda, who uses her power to make ‘Takehiro’ say dirty comments. This is pretty much a throwaway gag that only comes up once later in the chapter. Yet I just love the idea of Selda pretending to be a teenage boy, making crass comments like “I feel like sticking my dick inside her pussy.”
Gosh, I just have a thing for dominant mature women embodying teenage boys, don’t I?
Yukari takes to ‘Hiroko’ nicely, still remembering the events of chapter 2 as a dream, and having… transparently romantic intentions around them. Grabbing ‘Hiroko’s’ hand, telling them to call her by her first name, and taking an interest with them whenever possible. It should be Takehiro’s dream come true, to be the apple of his crush’s eye, but he’s overwhelmed by how he’s treated as a girl. Being asked questions he has no answers for, being seen as a piece of meat, all while trying to maintain kayfabe.
Selda’s answer to his worries is that he should embrace his teenage lust and impulse by fucking someone at the many wonderful scenic locations. Like the nurse’s office, empty classrooms, and the P.E. storage room. Which… are the main three. I’d ask how she knows about these cliches, but she’s a Data Creature, she’s probably gobbling up a gigabyte of porn every second.
Takehiro naturally refuses, yet Selda reminds him that he can only change back if he is in ecstasy. And if he doesn’t want to get up to some funny business at school, he can always lend his body to her. As Takehiro sulks over his situation, Yukari grabs him and takes him to the gym to change for P.E., kicking off a staple locker room scene. One full of teenage girls in overly fancy bras and panties, all in states of undress, before they turn to look at the newbie with the biggest rack in school.
While most girls glare at ‘Hiroko’ a minor character by the name of Noriko appears to make a snide remark, referencing how Yukari has a crush on Takehiro, saying that Yukari loves him so much that she can’t even call him by his name. This just breaks Takehiro’s world, confirming that his love is reciprocal… while he’s currently unable to reveal his identity. …And after he did things that would have him labeled as a grade-A pervert. Selda teases him— it’s practically her job at this point— while Takehiro tries to get on with this day, attending gym class… only for a Data Parasite to appear, destroy the Takehiro dummy, and reveal itself.
Rather than be another giant animal, this Data Parasite has taken over the body of the host from earlier. It darkens his face, amplifies his lust for revenge, and imbues him with the power to become a hulking demon. One who spouts zingers like “I’m gonna make you scream with my dick.” Selda tells Takehiro to stand and fight, letting Takehiro unleash a ridiculously powerful punch that smacks the demonic host into a pile of goop. It seems like he could take this freak out solo… except Selda says that she can’t give him the ability to dispose of its data, meaning he needs to give up his body to finish this freak.
…But because this enemy is technically a human, that means he has a dick. So Selda decides to have some fun, fucking this beaten man-demon until he “cumming with blood” while Takehiro is forced to experience what it is liked to have a vagina filled with dick-cum-blood.
And that’s the chapter!
Chapter 4: Takehiro Stops The Great Recession
In a move to keep things interesting, chapter four takes us away from the humdrum Japanese city to Manhattan! Data Parasites are not just going to target one city, and what better place to target than the financial center of the world? …And what better time to target Wall Street than late 2008. During the dawn of The Great Recession. Something that the story explicitly references in a move that I simply did not recognize until my latest read-through.
After explaining the gist of this chapter, Selda runs a finger along Takehiro’s spine, transforming him into his Hiroko form, complete with his magical girl outfit. This attracts a gaggle of onlookers who applaud his transformation, speak English (via katakana), and frazzle the poor little guy. In an uncharacteristic yet understandable move, Takehiro asks Selda to get him out of this jam, leading her to possess him… without transforming him. Something that we never see before or after this point, strangely enough. Like a seasoned pro, Selda gets out of this sticky situation. She does a cute little pose in the Hiroko form, speaks in English, tells the crowd that she’ll keep herself a secret until her next performance, and… bam, Takehiro’s back in control, now in Data Space.
Harkening back to the Data Space from chapter one, this Data Space is an office building run amok by a series of white vein-like tendrils, encompassing everything and every one. Per Selda’s explanation, that this was created by a giant flower Data Parasite, so I think these might be vines of some sort, but this is a black and white manga, so color is implied. Regardless, she calls an elevator and takes Takehiro up to the main attraction. Two men, both covered by the white vine stuff, only their dicks exposed. One colored red, the other blue, and much like in The Matrix (1999), Takehiro destiny will be determined by which one he puts in his mouth.
…Except neither he nor Selda know what each dick will do. Just that sucking it will free the person from their veiny prison and will determine the fate of the world writ large. With Selda warning that: “The collapse of the American economy will lead to the same thing all around the world! The following wars in the third-world countries will use up all of the planet’s resources and that will be the end of the world. Even if some people are going to survive, there will be no more future for them. They are only going to wait for their slow death.”
I don’t know how much humor is meant to be read into that sentence. But looking at what the 2008 financial crisis led to, and realizing that everything bad nowadays was, in some way, attributable to the lasting ramifications of the financial crisis, she might not even be exaggerating. I’ll save the political ramblings for my Rundowns, but I just love that political commentary like this is thrown into a sci-fi sex comedy action series like this. It shows that the creator had a vision, wanted to throw in everything he had within him, and was not afraid of what boring and lame people would think about it.
This decision predictably leaves Takehiro in a tizzy. On one hand, he’s taken aback by Selda’s laid-back attitude when presented with the potential end of the human race. …And on the other… he’s tempted by the colorful American dicks placed before him. Takehiro tries to deny this, but he cannot hide anything in front of Selda, and per his reaction, he totally wants to take these things for a ride. Selda urges him to embrace these feelings, telling him to think about the sex they shared senses during, embellishing the joy brought by those thick long hard things as they make him feel so good.
Fortunately for Takehiro— well, his pride anyway— he is interrupted by the arrival of the last central character in the series. Feres Mastavia Providuon the 18th! Seventh heir to the throne of the Galactic Empire. A short androgynous humanoid alien— a human who happens to be an alien— with a rather peculiar fashion sense.
She has giant twintails that reach the floor. A crop top that’s really more like a pad-less bralette than ‘proper’ clothes. Huge gloves. A techno staff. Loose pump boots that give her an extra two inches of height, Because she needs it. A series of pouches along her waist, looking almost like a skirt, which I believe contain tanbo. And… a pair of black stockings that go all the way up to their crotch, revealing… nothing!
Not only is this character’s crotch completely blank, like a doll, but they are displaying it boldly and proudly, practically drawing onlookers’ eyes to it. Despite this implication of a non-binary identity, the English translation I am reading has characters refer to her with a feminine title (Ms.) and she/her pronouns. So I’m sticking with she/her.
Feres is here to dispose of Selda, saying that she’s responsible for the destruction of many planets and has been branded an enemy of the Galactic Empire. Which sounds impressive until Selda says it’s just a small distant empire, a remnant of a larger civilization… that Selda seemingly had some hand in destroying. Still, Feres still has a lot of resources at her disposal and uses her techno staff to break a hole in Data Space, sending in a squadron of spaceships to attack Selda. …And they do, frying her with a laser beam. …Only for Feres to say that she merely deleted Selda’s virtual image, and her main body still remains.
After a brief bit of bickering between Feres and Takehiro, Selda’s true form emerges, and it’s the form we saw in the first chapter. A giant woman made of data and light. Except this time, she’s fucking pissed. Punching through the walls of Data Space, crushing spaceships in a single strike, throwing them into each other, shooting lasers out of her eyes, and unleashing bursts of fire from her mouth. It only lasts a few pages, but it’s still a damn spectacle. This entire scene is. It’s where Hiaso’s deliberate posing, dynamic action, and sense of scale really stand out here, leading to some truly excellent panels and spreads. The entire series has some immaculate spreads, well worthy of being part of an artist’s reference library. Or a place on a weirdo’s wall.
As Shin Selda devastates the Galactic Empire fleet, regular Selda appears to snatch away Takehiro. …Yeah, Selda can control multiple bodies. Are you even surprised at this point? Feres refuses to let this damnable Vanamond escape though, so she strikes Selda with their staff, causing her to release Takehiro… right onto one of the dicks, where it slides perfectly into his vagina.
This shatters Takehiro. His expression drenched in despair and dismay, and his mind flashing back from his early childhood until now. Highlighting all the times he thought and saw himself as a man. Refusing to play with girls as a young child, pushing them away as he embraced sports, how he always tried to man up to appease authority figures, and saw women as the other. All of these experiences shaped him into who he is, instilled a larger-than-life expectation of what a man should be, what he should be. Yet, his first penetrative sexual experience is not of him fucking a girl, it’s him taking some dude’s dick inside his pussy.
Fortunately, Takehiro chose the correct dick, successfully killing the flower Data Parasite. Feres runs away to fight another day, Takehiro is left unconscious, and Selda congratulates him as he lays unconscious in her arms. It’s a nice ending for the first volume of the story, showing Takehiro cross a major threshold in his exploration of gender and sexuality. However, we’re not done quite yet.
The story continues with Selda spawning Takehiro back to Japan, in his male form, right in front of Yukari. Takehiro flips out as he realizes he is a man again, recoiling from the events earlier in the day, leading Yukari to approach him. She might not know what’s going on, but she reassures him that if anything is bothering him, he can tell her about it. She might not be able to help, but she wants to be there for him. In fact, she hammers this home so much that it seems like she’s about to confess to him.
Sadly, Takehiro is not all right in the head. The sexual trauma, rush of testosterone, and the previously detailed post-transformation sex drive boost, have rendered him into an almost inhuman avatar of lust. He loses his composure, eyes become crazy, and he wants to do it. SEX! “Sticking [his] dick in [her] pussy and rubbing it in there!” Yukari is mortified by how her crush became a monster, yet is saved by her friend Noriko. This random bit player then attacks Takehiro with dual bookbags, spitting on him and calling him a maggot as she flees the scene, leaving Takehiro next to the trash.
Selda calmly looks on at this scene, and as Takehiro comes to, he isn’t even angry. He knows that he was being a pervert, and chooses to blame Selda for this transformation. Selda laughs in response, dropping the following banger line: “Everybody who is born as a man is longing to know the secrets of the female body! That is how the world works! This is what’s called moe!”
Gosh, reading this in 2010/2011 was probably the first time I even saw the word moe. I had no idea what it meant in this context, and nowadays, it still doesn’t make much sense to be.
The chapter then leads into a cliffhanger, with Noriko comforting Yukari as the centipede spider emerges behind them. Having somehow transcended Data Space and entered into the material world. Ending volume one.
Chapter 5: Sparkling Bug-Squisher Takehiro-Chan~!
Volume two wastes zero time before getting into the action. Centipede spider rushes behind and snatches Yukari and Noriko before beginning a tirade of destruction. This kaiju-level threat smashes cars, ripples through buildings, and causes immense panic throughout the city. This is fantasy become reality to these people, and the sheer carnage it wrecks in just a minute is appropriately devastating.
Selda, being a woman of action, tells Takehiro to give him her body, but Takehiro refuses when… dude, I get that your head is frazzled, but this ain’t Data Space. You literally saw this thing topple an 8+ story apartment complex. Your feelings don’t matter!
Still blinded rage and testosterone-based fury, Takehiro tells Selda to lend him her power, to which Selda reminds him that it doesn’t work that way, trying to reason with him… before giving him a GIRL SHOCK to appease him. Takehiro transforms into his magical girl form and flies through the sky— of course he can fly—to do some smack talk, leading the centipede spider to show him what it has done to Yukari and Noriko, both covered in erotic goop. This stuns Takehiro enough for him to be smacked through a building, leading centipede spider to gloat. Declaring that it “will kill all men and rape all women” and webbing up Takehiro, the silky strands functioning as bondage as Takehiro is left dangling and incapacitated.
Selda comes in to relieve him of his duty, having proven he’s still too green for a real threat like this. But Takehiro refuses, telling her to shut up, lend him her full power, and that he’ll use it to fucking kill all Data Creatures who dare to mess with his planet, including Selda. Selda just laughs at his threat, becoming giant to illustrate the difference between their experience. She admires his gusto, his unmitigated gall to think that he can possibly hope to kill the Goddess of Love and Fertility. So she gives him access to her power, promising him that if he tries using it, he’ll never be the same again.
…Not in the sense that he’ll be psychologically scarred. Takehiro is already cracked in more ways than one. Instead, she says that Takehiro will no longer be a human, not fully anyway. But if that’s what Takehiro needs to do to defeat her… he’s willing to pay that price. It’s an interesting pivot in their relationship, one that makes emotional sense for Takehiro after all the shit Selda has put him through. …Though this is more of a red herring than it is foreshadowing, and I think that’s for the best. I am all for stories of a submissive like Takehiro becoming stronger than an epitome of dominance over time. Trans Venus just isn’t that type of story.
Selda frees Takehiro of the centipede spider’s grasp and begins teaching him how to use the full extent of her power… with the help of two dildos. As a sex Goddess, Selda has a level of power that is tied directly to her sex drive, and in order for a human like Takehiro to use it, he needs to use a pair of vibrating plugs. One in the vagina that powers his deadly skills, one in the anus for his special powers, and neither can be removed thanks to a pair of special panties that Selda made permanent fixtures of his magical girl outfit.
With a firm kick to the ass, Selda sends Takehiro back into battle, where he is pretty much immobilized by the vibrating toys in his ass, making him moist in more ways than one. He seems like he is in no state to fight, but after Selda activates the plugs, and tells him to strike the glowing red weak point for massive damage, Takehiro is able to blast the centipede spider in two hits. It’s a bit of an anticlimax, but given Selda’s awesome power, this seems appropriate enough.
As the centipede spider is destroyed, the people rejoice, celebrating their new pretty warrior. Yukari is freed and immediately running to Takehiro, or as she calls him, Hiroko. Yeah, she does not have any doubt that this is Hiroko, and there’s zero secret identity business with Takehiro’s magical girl identity and his regular girl identity. Because there simply does not need to be.
In fact, as Yukari rushes to a fainting Takehiro, holding him in her arms, she suddenly remembers the events of chapter 2, putting together that Hiroko is actually Takehiro. Thus ending Takehiro’s ascension to magical girlhood and ending chapter five. …Though the unofficial English scans calls it chapter 6, because counting is hard. I’m an accountant. I would know…
Chapter 6: Can’t Stop the Lust~!
Chapter six cuts away from the main characters to a dark government office where a rotund gentleman is talking on his cell phone and watching TV. Where an anchorwoman is reporting that 203 people have died, over 1,800 have been injured, and over 300 buildings were destroyed.
I love this detail, as it is such a deliberate figure, and one that openly acknowledges the fact that people die in monster attacks like this. No rough estimates, just outright saying that so many people died, and giving the reader numbers to estimate the damages. It weirdly makes Takehiro’s inaction and decision to fight on his terms feel more selfish and careless. Yes, he saved countless lives from being lost, but if he just let Selda do her thing, how many additional people would be alive? How many extra buildings would be left standing? I know questions like that would keep me up at night.
Anyway, through the conversations of the rotund gentleman we can gather that he is in the know about Data Creatures, talking to some unknown figure about them, and plotting how to deal with Selda as they plot to take over the world. Afterwards, the man ends the phone call, and we see that this man was being possessed by someone, likely a Data Creature. Now, there are three big questions here. Who is the possessor, who is this man, and who was his possessor calling. However, the comic does effectively explain who any are, so I only have theories. All I do know is that this man has two dicks and a pair of sex slaves who were sucking him off during the entire phone call.
…What, you think I have a witty comment about that? No, this is pretty par for the course for hentai. At least the kind I stick my fingers in…
Takehiro then wakes up from his first ‘solo’ battle, finding himself in a lavish hotel room… and in immense pain. His body so riled up and sex-hungry that even breathing a certain way is enough to trigger an orgasm. I could comment about this being ridiculous, as is the portrayal of female sexuality in this comic, but that feels redundant. Takehiro is not just getting a female body, he is sharing a body and senses with The Goddess of Love and Fertility. There’s no wonder why he is so relentlessly aroused. And this portrayal of sexuality, or arousal, is so extreme, so over-the-top, that it circles back and becomes comedic to me. In an effective sex comedy, or at least Japanese sex comedy, sex and comedy should be the same thing most of the time.
Tangent aside, Selda explains the current situation to Takehiro. Yukari’s coming by to visit him later. He’s stuck in his girl form until his body recovers, meaning until he gets his ravenous libido in check. And he’s on his own to explore for the first time since the series began. Thus kicking off the ‘exploration phase’ of this TSF story exceptionally late and with one of the horniest protagonists I’ve ever seen. Takehiro looks at himself in the mirror and cums from how hot his reflection is. He bitterly claims that he’s a man and “not even cute at all.” And when he tries to take a shower and bath, he is overwhelmed by the pressure of hot water jetting across his supple nubile form.
In case I didn’t make it clear by now, Takehiro’s probably a minor. Whenever I see a high schooler go through stuff like this, unless the text says they’re 18, I just assume they are a minor. Not because I like this stuff, but because I don’t.
At the end of this sorted affair, Takehiro is left soaked, hot, and crawling across the hotel on all fours, staring at himself through a conveniently placed mirror. This sight is enough to break something within Takehiro, realize that he can do anything he wants to the girl in the mirror. He wants to see her get pumped with something, see something rammed into her holes, and as he looks at at nearby table, he sees a pair of dildos. They could bring him release, the clarity and confidence needed to go back to being a guy, and with the answer within his hands… Takehiro reaches beyond the panels, turns the page, and sees Selda, jilling up a storm in Data Space.
I need to pause and acknowledge how brilliant I think this is. I have a fondness for scenes that go close to the precipice of sexually explicit activities, only to cut away, for characters to abruptly stop, or for anything else to happen. You get the build up, the foreplay, rather than get the release and crescendo of a good fuck, you get denial with a cheeky undercurrent. It’s something that I’ve seen more times than I’d care to count, and while there are blasé ways to do it, this is not one of them. It genuinely feels like Takehiro is about to cross the Erotic Rubicon and masturbate as a girl. …Only for him to experience a fourth wall break as he turns over the page, ripping it apart, to enter Data Space.
While in Data Space, Selda have an animated conversation about their relationship. Selda is offended by Takehiro’s reluctance to play with his new body, saying that she gave him “a perfect female body” and it’s a sin that he is not willing to even try what it feels like. She views sex with such high regards in part because it is the “the ultimate mean[s] of data exchange for material beings” and it how human beings create new life. And by denying himself that, by not even preparing himself for this, she says Takehiro is “not worthy of calling [himself] a human.” But more than anything… she just wants to have sex, sex, and more sex! It has been 500 years since she was on Earth, and I have to imagine that modern sex is WAY better than 1508 sex.
Takehiro… does not really care about any of that and just wants to go back to normal, only for Selda to explain that he’s on his own. She gave him all of her powers— it’s how he was able to enter Data Space— so he needs to clean up his own mess. Either with the power of plugs or with some other proper trigger. On cue, the proper trigger, Yukari, arrives in the hotel lobby to meet with Takehiro, who needs to go downstairs wearing whatever clothes Selda prepared for him.
Fortunately for the reader, and unfortunately for Takehiro, she picked an immediately iconic fit for him. A collar around his neck, a low-cut graphic tee that reads “Desperate Angel,” a big chunky black belt with a silver buckle, a frilly skirt that covers the bare minimum, and shoes that… I think Hisao forgot to touch up after sketching. Honestly, the fact that I have not stolen this outfit design before is a stain on my career as a TSF creator, but I’ll be sure to rectify that during my next major project.
Takehiro is visibly uncomfortable in this outfit, but Yukari does not care what he looks like and rushes to him, embracing him and causing a scene in the lobby. Yukari explains that Selda took over Takehiro’s body after he passed out and told her the full story. Because of, or despite, this story she views Takehiro as a hero and thanks him for putting his life on the line for humanity. Takehiro, however, crumbles as he realizes that Yukari knows everything, being brought to tears as he voices shame over what he had to become, calling himself “the worst kind of man.” A failure who cannot even become a man again.
Yukari assures him that, no matter what he looks like, he will always be himself, and… that she would be willing to do “this or that” with him. This is meant to be a callback to the end of chapter 4, where Takehiro said he wanted to fuck Yukari. I’m not sure if Yukari knows the context around that interaction, but she still cares for him regardless, taking their relationship up a notch by leaning in for a peck on the lips. A kiss so euphoric, so sexy, that it undoes Takehiro’s transformation, causing him to become his boy self again. …But the same is not true for his clothes.
His shirt tears as his frame grows, ripping at the shoulders. His belt strangles his waist, his hairy legs are exposed, and with his sex drive through the roof from a mere kiss, he’s popping a bold boner, tenting up his skirt. I used to hate this scene when I first read it, as I did not want to see some guy in girl’s clothes. But now that I’m a sexually mature adult, I appreciate how bold Hisao was being here, even if the scene is predicated on the ‘absurdity’ of a man dressing in ill-fitting female clothes. A gag that promptly caps off this chapter.
Chapter 7: School Sweetie Superstar
Chapter seven begins in aftermath of the centipede spider attack. The city’s recovering, cleaning up the wreckage, and people are trying to get back to their everyday lives. Selda tells Takehiro to take some pride in his accomplishment, but adds that this is not some isolated incident. She claims that the centipede spider would not have the power to materialize in this world, and must have been sent here by a “boss character.” She doesn’t know who or what they could be, but tells Takehiro to keep an eye out as “if [they] don’t find and kill him, these things will keep happening again and again…”
…Except they have no leads, so it’s time for the second and final school chapter. Takehiro has enough composure to keep his libido in check, though he has bigger problems, as the magical girl is talk of the town, with reporters lined up by the front gate, desperate for an interview. Jason— the boy I have chosen to name Jason— explains to Takehiro that people were able to quickly identify the magical girl as Hiroko, the new transfer student, and once again I find this to be refreshing. There was no mask, just a cosplay outfit, so of course people were able to pair Takehiro’s identities like this.
Still, this causes Takehiro a lot of stress as he does not want to turn into a girl with people searching for him. …Only for Jason to run a finger along his spine, inadvertently triggering a transformation. A bit arbitrary, as who runs a finger up their friend’s spine, but it makes the plot go vroom. Takehiro tries to hide in the restroom, but is soon spotted by some students, triggering an escape sequence. Students stampede through the halls, all fawning over him, throwing themselves his way, and becoming a horde. A horde that pulls in reporters as the chase follows outside, all asking pestering questions.
Takehiro manages to keep them away— adrenaline is a hell of a thing— yet the crowd of people begin making increasingly disparaging comments. Their faces darken, eyes become white voids, and actions grow more aggressive. Clearly, a Data Parasite is afoot, but rather than transform and take care of business, Takehiro follows Yukari into a… storage shed? It looks more like a cabin than anything I’d expect to see at a school, but why would a school have a cabin?
As anybody who has seen a zombie movie could tell you, this is a terrible way to hold off the horde, as they begin punching through the windows, clawing their ways in, pawing for anything within arm’s length. Selda wants Takehiro to use the plug to unleash his power, but she gets tired of waiting on him and takes over, transforming his body, reaching out for the Data Parasite, and smacking it out of whoever it was possessing. (Yes, she can just take over his body still. Sharing power just means they are closer to equal than they were before.)
The parasite is swiftly revealed to be a slime monster that relays a message. One that threatens Selda, references an encounter from 500 years ago, and claims that humans are mere animals. All vagaries that Selda clears up after dispatching this goo ball. She says the messenger was sent by Velktron, “the strongest and most evil Data Parasite ever.”
He’s a creature who spreads across a planet like a cancer, possessing all lifeforms, siphoning all information, before destroying the world and leaving it behind. 500 years ago, Selda left Earth to help another world threatened by him and… “a lot” happened there. She won’t say what, but per Velkron’s messenger, it sounds like she lost.
Knowing that this threat is near, Selda wisely chooses to have Takehiro train… Meaning she wants to train his asshole with a dildo so that he can more effectively transform and manipulate his sex drive.
Chapter 8: SEX ON! SEX OFF!
Surprisingly, chapter eight kicks off with Takehiro— male form— in the middle of Selda’s anal training. Walking home from school, late at night, with a spiral butt plug shoved up his ass to bolster his libido control and with it control his powers. Selda teases him, insisting that he will get used to this as he embraces his perversions. Takehiro bemoans how he does not care about sex, when he clearly does. And Selda does him a solid by giving him a rotor capsule. A remote control for his butt plug, to help him access his powers in a pinch.
After being handed this doodad. Takehiro’s father just happens to walk by, grabbing his son as he heads home. …Yeah, did you forget? Takehiro actually has a family. This is the first time his dad showed up, and after chapter two, he hasn’t seen his mother or stepped foot in his house. This should be a good opportunity for him to recover, maybe even confide in his parents, but as he returns home and lays eyes on his mother’s tits and crotch, he is struck with the fact that… his parents fucked and his mind once again becomes overwhelmed with the image of his parents having sex.
This is funny enough in the moment, as Takehiro’s freak-outs generally are, though it does warrant highlighting how Takehiro’s sexual drive actually works. He seemingly needs to have sex after a battle in order to tame or calm himself. This is not always shown in detail. We don’t see what he got up to between chapters 6 and 7. Though, this seems to be the general rule. And right now… it’s probably worse than ever, as the anal training has made Takehiro is perpetually horny.
We see this after a transition, where Takehiro is talking to Yukari on top of a jungle gym, trying to find a way to explain Selda’s training regime without mentioning the butt plug. …Or how, last night, Selda took his body and had anal sex with three guys at the same time. I don’t know how you can have anal sex with multiple people at once. Frankly, I don’t want to know.
However, even a triple anal gangbang is not enough to stifle his libido, as Takehiro keeps looking at people and thinking of sex. Mothers, young couples, a balding man reading a sports newspaper— every human is an animal that wants to fuck! Part of his reaction is attributable to Selda, masturbating just to rile him up, but that simply raises more questions in my mind. How is their sex drive really linked? Could Selda just make Takehiro cum without having him use his hands? How much of this is being caused by the butt plug currently inside his tight boy asshole? So many questions, so little time.
As Takehiro suffers, he suddenly finds a collar slapped around his neck, nearly choking him in the process. Turning around, he sees that this choker was slapped on him by Feres, from chapter 4. Except this time she accompanied by two twin old man guards (who barely contribute), and sporting an X-shaped top. Because I guess this was more fun to draw. Feres explains that this choker is actually a cloaking device that interferes with Selda’s data signals, preventing her from communicating with Takehiro. Meaning that, for the first time in about a week, Takehiro’s finally free from the sultry devil on his shoulder.
Selda can still see him, but it means that Takehiro is effectively free from Selda and FINALLY has some way to reliably upset her. When Takehiro takes off the collar to test its effectiveness, Selda just whines, begging him to throw away this collar, her composure utterly lost. This might seem out-of-character, but I think it’s perfect for her. She was so accustomed to being powerful, to being the dominant one, that merely being silenced is enough for her to throw a hissy fit. It feels very appropriate for someone as vain and controlling as her. If you don’t believe me… you’ve clearly never seen a bullish millionaire CEO throw a temper tantrum over getting the wrong soft drink.
Takehiro is elated by this, maniacally joyful, and graciously thanks Feres for this gift. However, Feres says that this is not why she came here for. She actually wanted to make a treaty with this planet. And to consummate this treaty in a traditional manner… by impregnating Takehiro. Takehiro is shocked by this request and bitterly declares that he is a man. Feres, somehow, takes this to mean that he wants to impregnate her, and is positively giddy as a result, saying that she always wanted someone to impregnate her.
With Takehiro thoroughly confused, the handlers explain that the royal family of the Galactic Empire have features of both sexes at the same time, and only decide on a sex once they fall in love. Which… is JUST Space Pirate Mito!
Right, I never did a TSF Showcase on this, as the TSF elements were not particularly pronounced, but this warrants a brief tangent. Space Pirate Mito is a 1999 anime series about the space faring adventures of a member of a galactic royal family turned space pirate by the name of Mito, and her half-human ‘son,’ Aoi. The royal family consists of long-lived— and very childlike— members of a royal family who must decide their sex upon reaching a certain age, or else they will be punished.
It’s not an exact parallel. But there are enough similarities between how young and androgynous Feres looks versus the royal family from Mito. And specifically comparing Feres to the character Ranban— a royal who refused to become male or female— that I think there might be a connection. I don’t want to outright say that Hisao took inspiration from a semi-obscure sci-fi series with TSF elements.
But as a sci-fi guy, who made a story about a space pirate literally a year after that series aired, I would not put it past him. And if it was an inspiration… I think that would be pretty cool. I love the idea of every TSF work I love being connected to each other in some way. All art is connected, and being able to make those connections, see the trails of inspiration, is one of the greatest rewards of being invested in something.
All of this talk about Feres being with Takehiro frustrates Yukari, who misconstrues their relationship, thinking that Takehiro is rejecting him, and love triangle antics ensue. With the two girls literally yanking Takehiro around as they argue over who Takehiro belongs to. Feres citing tradition and customs to strengthen her claim, while Yukari claiming that she picked Takehiro first.
However, before either can truly fight over him, a strong gust swipes Feres’s techno staff from her hand, where it is grabbed by a balding man possessed by a Data Parasite. A parasite who swiftly reveals himself as Velktron, beginning the final chapter.
Chapter 9: Non-Stop Infinite Climax
The chapter opens with the reveal of Velktron’s true form, looking like something straight out of a Tokusatsu series. A big bulky black body, a giant insect-like head with eight eyes, a torso full of what looks to be translucent muscles, and a slick fairly bulky set of black armor. It’s simple in a certain regard, but there are enough identifiable features, such as the white Y shape of his helmet, to make him a recognizable character.
With his body formed, and presence manifested in the material world, Velktron swiftly crushes Feres’s techno staff, spurring her to pull out a regular staff to do battle with this foe. Velktron effortlessly dodges her initial strike, sliding across the ground as he approaches Takehiro and grabs him by the neck, shocking him. Feres goes in for a back attack, striking Velktron and damaging his material form, forcing him to retreat.
Having a minute to breathe, Takehiro looks at his collar and sees that it has been transformed, affixed with spikes and a tiny padlock that he cannot be removed. Meaning he has no way to contact Selda, and needs to fight on his own. Which is going to be a problem, as Velktron summoned a legion of shadowy goop men who surround Takehiro, Yukari, and Feres. Takehiro is still reluctant to activate his butt plug, but after these monsters start attacking Yukari, he decides to man up and activate the remote control, triggering his vibrating anal rod and causing him to transform into a magical girl once more. …Also, apparently the butt plug moved from his anus to his vagina while transforming. Not sure how that works.
After transforming, Takehiro is full of such excessive power that he begins exploding these monsters just by shaking his hips, launching lighting bolts and general explosions, almost making it seems like this horde will be dispatched with ease. …Until Velktron reappears, summoning a chain and yanking Takehiro away. Feres tries in vain to protect him, but is tossed away by the monsters as they form a barrier around Velktron, shifting from the material world to Data Space.
With some privacy between them, Velktron chains Takehiro to the ceiling, unable to fight back, and has his minions sexually assault him. Tearing away his clothes, yanking around his plugs, and lathering his body with a dozen different appendages. As his minions do this, Velktron insults Takehiro. Calling him an animal, insulting his masculinity for enjoying this, and asserting his superiority as a Data Creature. Takehiro tries to fight back, yet he is unable to channel Selda’s power. The collar issiphoning away the energy that should flow into him and into Velktron. Meaning the more his minions rape Takehiro, the stronger he gets and the weaker Selda gets.
As dire situation grows worse, Velktron summons Yukari, and possesses her. Well, that’s what the translation says, but in practical terms, it’s more like he is brainwashing her. Amplifying existing desires and twisting others, rather than inserting himself into this human girl vessel. Point is, Yukari approaches Takehiro, looking at him with sunken eyes, clearly not herself, but able to access all her memories. She looks at Takehiro, a hot sexed-out mess, and offers him the one thing they’ve both wanted for quite some time. Sex. Takehiro cries as he hears her say these words. Not because he is receiving something he’s wanted for, realistically, years now, but because he’s sad it had to be this way.
While those two prepare for their first time, Feres and her handles are thrown out of Data Space and back into the material world. Feres immediately tries thinking of a plan, yet her options are limited after the loss of her techno staff, with the Galactic Empire’s fleet several light hours away. They simply lack the resources to deal with a threat like Velktron… and he’s amassing power, fast.
Feres looks up to see a giant shadowy figure of Velktron in the city center, towering at such a staggering height it would make a typical kaiju look puny. He’s already accumulated this much energy in just a few minutes, and to make matters worse, he’s not limited to one city. All across the world, from Shanghai to Paris to San Francisco, his form lingers in the skyline, slowly materializing amidst clouds of darkness. And even in this incomplete form, his influence is spreading, compromising all technology as he consumes its data. Phones go offline, streetlights malfunction, the stock markets terminals are full of nothing but porn. Even NORAD is under attack. Both from a cyberattack that leaves their equipment useless, and by a pawn of Velktron that has taken control of an acting general.
Yeah, this is something the story hinted at earlier, but does not explain particularly well. Velktron is spreading himself and his influence across not only technology, but humans. He is possessing people from all positions and activating them in order to enact… rampant violence. We only see snippets, but they imply that nowhere, no part of the world, is safe from his influence. From waiters at prestigious eateries to cops patrolling the streets, all are possessed as Velktron spreads himself around the world. I can only read this as meaning that millions of people are being killed.
Once again, I need to admire the sheer creative gusto it takes to just casually depict a mass death event in order to bolster the stakes or intensity of a conflict. It’s not inappropriate or out of line considering the story is about saving the world from a serial world destroyer. Meanwhile, the decision to places such scenes next to the imagery of a teenager covered in lace and chains getting raped and coated in sexual fluids… is at least a little inspired.
Shifting back to brainwashed Yukari and Takehiro, we see that the two have been going at it for some time. With Takehiro sitting in a literal puddle of sweat and juices as Yukari towers over him. Though, I’m not sure what Yukari was doing to him, as she does not have a drop on her and from Takehiro’s reaction, it did not involve her pussy. So I guess she was just using her hands?
Anyway, the point is that Takehiro is sloppy wet and down bad for whatever Yukari is willing to give him. Then, as Yukari mentions Selda by name, this is somehow enough for Takehiro to call for Selda, begging for her return. Calling Selda, somehow, is enough to break the barrier of the collar. She contacts him, shoves him out of his body, and breaks through the collar and chains, growing to her giant size. As she expands, she breaks past the Data Space, grabs Yukari, and emergers into the city as a 100 meter tall woman… meaning she is barely as tall as Velktron’s knee.
Selda is not dissuaded by their difference in statue though, and boldly stands her ground, declaring that nobody fucks with a Vanamond. Velktron commends her effort, but claims that he has already won thanks to his link between Yukari. I don’t really see how that’s relevant, as Selda is no longer bound by a mechanical device that siphons energy, but Yukari will need to be un-brainwashed before Selda can defeat Velktron.
Regardless of the cause, Selda decides to drop brainwashed Yukari down her throat, sending her into her personal Data Space, a sort of pocket dimension where Takehiro resides. Yukari grabs onto Takehiro as she falls into this Data Space, saying that there is no escape from her. As she falls, her hair buns unfurl into long silver twintails, twisting themselves into horn-like strands, and she begins sexually assaulting Takehiro once again. Using her tongue and fingers to play with his body while indulging in dirty talk. Chastising him for being such a filthy girl, for enjoying this despite being a boy, and insinuating that he is only doing any of this to further his own lust for power, not to save the world.
It’s all expected hypersexual rape villain stuff. Trying to wear Takehiro down however possible, urging him to confess to his inner feelings, admit that he is a dirty little pervert, all while sexually tormenting the protagonist. With the torment reaching a new level as Velktron uses his power to give Yukari a big black dick. …No, the penis is literally black. I cannot see the details, as there’s a mosaic censor over it, but Velktron gave Yukari a big black dick. A dick that she eagerly used to make the two become one, saying that she will use it to destroy him.
As these two teens go at it like rabbits, Selda is out in the material world fighting Velktron. He threatens her, claims that he will absorb all her energy, and does a bang-up job of knocking her around. Every attack she fires at him becomes ammo he shoots back at her, sending her colliding through buildings, destroying billions in infrastructure, and ending thousands of lives as she is splayed across rubble. Her body is crumbling, lacking the energy able to repair itself, and Velktron gloats over his assumed victory. However, Selda reminds him the battle’s not over yet, cutting back to Takehiro and Yukari.
Takehiro is riding on Yukari’s dick and loving every damn second over it, his face sloppy with juices and body trapped in a perpetual cycle of orgasms. Yukari tries using this to break him, yet Takehiro stops her, saying that he is not in a state of bliss because he’s having sex, but because he’s with her. Because he’s with Yukari. He has loved her so much, for so long, and while he might have never imagined being with her like this, he is still elated. He confesses his love for her, and as these words pierce Yukari’s mind, she breaks free from Velktron’s control.
With their love voiced and bodies still joined, Yukari lunges at Takehiro and locks him in a kiss, the two becoming enveloped by white light as her link to Velktron is severed. This disturbance causes Velktron’s data energy to flow back into Selda, restoring her while depriving him of his immense power. He thought that all he needed to do was amplify her lust, that this would be enough to dictate her every move. But he forgot that humans are animals, creatures driven by any number of impulses, and cannot be controlled or restrained by logic alone. This was his undoing, and despite a final plea to merge his fading pieces, his power is insignificant next to Selda’s.
He grows large enough to be seen form space, becoming a creature capable of trampling the planet with enough time, yet Selda grows even larger, resting the Earth on her lap. She reaches her hand down towards him and, as he stands tall and proud, she squishes him between two fingers, flinging him away into the recesses of space. For all his plotting and planning to take over humanity, he failed to understand the power of irrationality. That even something as powerful as a sex drive can be overwhelmed through the power of love.
From there, we are treated to a brief epilogue. While the world was left scared and damaged after Valktron’s attack, with cities decimated and scorched from his mere presence, humans still persevere, they survived, and a new dawn emerges. A chance to heal, to rebuild, and to grow. …And rather than being told to pick up after themselves, they received help from the multifaceted fleet of the Galactic Empire, who did something or other to “help [restore] this planet.”
Feres is not happy about this arrangement though. Pouting about how she didn’t get to be the hero of this planet— with people sharing around photos of the giant leather clad blonde woman who saved them. And how her “honey” has committed himself— or rather herself— to being with Yukari.
We then get a look at Takehiro, having fully accepted living as a woman, looking all lovey-dovey with Yukari, the two talking about how much they want to “do it again.” After so many highs and lows and struggles, the two are finally open with each other’s desires, both living in blissful lives full of love and sex. …And to erase any ambiguity about how things played out, Selda pops in to mention that she “forgot” to get rid of Yukari’s penis.
…I’m not actually sure what to make of that ending note, and what Hisao’s intention was. If he just had a thing for dickgirls, or MTF TSF protagonists getting fucked by dick girls in order to make them more womanly. But I do find it more interesting than if Yukari just went back to normal, for whatever that’s worth.
Conclusion: Trans Venus is DOPE!
Having gone through the manga in exhaustive detail, I have to say that I am still impressed by everything Trans Venus does and how well it works together. It is a glorious hodgepodge of genres and ideas that should not work together. A bombastic sci-fi action story with giant monsters and a hypersexual sex comedy with a guy who puts a butt plug in his ass to become a magical girl. And one that, from start to finish, burns with a sense of creativity and passion that I found eye-opening as a 16-year-old. Now, 15 years later, I still consider it to be one of the finest TSF manga I have ever read.
I love its comedic sensibilities and how it uses comedy or general silliness to undercut the darker moments into something more palatable. I love how relentless Selda is in sexually tormenting Takehiro, trying to crack him and his modern puritanical ways without ever losing her cool or ruining her image as a dominant queen. And I love how eager and infatuated it is with sex and sexual imagery, while refraining to show much of it until the final chapter. Sometimes hentai works just bombard the reader with sex after sex, and while there are more bare boobs than I care to count, Trans Venus knows well enough to restrain itself in this one way.
And I of course love the artwork, but the one thing that sticks out to me the most is how versatile Hisao is as an artist. I have already highlighted his lavishly detailed spreads that sport brilliant composition, a grand scale, and a gorgeous attention to detail. But he is as adept at depicting giant monsters as he is at illustrating cartoonish banter full of hyperbolic expressions. It shows an understanding of the many styles manga can feature, and neatly meshes with the narrative’s hodgepodge sensibilities. It’s such a triumph that I’m more than a bit upset that Hisao never went on to do much after Trans Venus, as with his level of skill and varied sensibilities, I just want to see more of his work.
Going back to the comic for this Showcase also forced me to really sit down and analyze everything it was doing. This time with a helping of TSF and manga history behind my belt, allowing me to get more out of it. From spotting similarities between the aforementioned Electric-Exchanger and Space Pirate Mito to more general thematic and conceptual overlap with works like Futaba-kun Change and the comedic stylings of Hikaru Yuzuki’s foundational entries in the genre. All of which makes Trans Venus feel like something of a tribute to everything that came before, meant to inspire a new generation. And I think it has.
Tangent 2: Personal Reflection and a Hearty Farewell
Back in 2010, when I was still getting my shins wet in the world of TSF, I remember seeing this comic crop up on various sites and reading it for the first time. I was so enraptured by the story and chaos that I was willing to deal with all the icky nudity. In the following years, I have seen creators reference the book either through their own work or by highlighting it as an inspiration. And I personally have been keeping this story close to my heart for pretty much my entire tenure as a creative.
In My Life As Abigale Quinlan (2014), I played with the idea of a hapless high schooler sharing an unfamiliar body while being tormented by a dominant leather-clad blonde man-bitch who wanted to mold their personality into something more assertive and befitting of their god-like power.
Terrance and Urabe’s Alien Assassination Adventure (2014) was a more direct inspiration, being a story about an 18-year-old who was forced to share a body with an alien woman while killing undesirable parasites feeding off of humans. Except it was terrible, had none of the edge, and was barely even finished.
The Malice of Abigale Quinlan (2016) was another take on the core ideas of My Life As Abigale Quinlan, and further explored the idea of an otherworldly entity influencing the protagonist as they are forced to share a body with them, while having their will whittled down by the same leather-clad blonde man-bitch, before eventually failing to retain their sense of self. Effectively failing where Takehiro succeeded around Selda.
The Dominance of Abigale Quinlan (2022) continued after Malice, showing the aftermath of someone who fails to retain one’s sense of self around a dominant figure, leading the protagonist to ultimately reject their very sense of self. At its base level, it’s ‘what is Takehiro gave up and let Selda pilot around his body.’
I’m not saying this to just plug my own work— the first two examples were trash— but as examples of how much this story has simply stuck with me.
Even to this day, whenever I try to write a sexually dominant, powerful, and imposing character, I am still drawing inspiration from Selda, however faint it may be. When writing a fiercely bitter protagonist who wants to pursue their own gender, irrespective of some greater force, I am taking inspiration from Takehiro. And whenever I have two characters share a body, vying for dominance, in the back of my head, the echoes of Trans Venus reverberate.
Why? Because this was the work that truly introduced me to so many concepts, and it remains one of my favorite renditions of it to this day. Sure, Birdy the Mighty was an inspiration as well, as it’s the same general concept, but re-reading this… no, I encountered this before Birdy, and this was what really got my mind going.
Now, I am not saying that the story is flawless, and I’d hesitate to use a term as lofty as masterpiece, as it does have problems that I have gestured towards. It is not always the most well-rounded or sensible story. Certain minor ideas are discarded or only come up a single time. Certain elements of how things work are not particularly learn. The storyline feeling a bit condensed for a two volume affair. And I think that greater emphasis could have been placed on Takehiro’s gender identity, seeing her gradually accept being a girl over time, rather than repressing her desire before caving in after getting a pussy full of girl cock.
But it achieves so much, has so much bombast, personality, and humor, that it’s still one of my favorite TSF things I have ever had the privilege of encountering. A story that has inspired me for nearly half my life, and now, with it fresh in my mind, I’m hoping to channel this inspiration into more creative ventures.
2025 has been a bad year for me productivity wise, in part due to the intensive process of writing these novella-length TSF Showcases. I have been forced me to delay projects by a full year, and for as much as I love doing these, as a scheduling sacrifice, I am going to need to put the segment on hiatus, effective January 1, 2026.
I have had a blast doing TSF Showcases over the past two and a half years. I love delving into TSF history. I feel honored having the opportunity to share so many oddball, interesting, and often excellent works with other people. And I hope that this collection of over 100 segments has illustrated that TSF is a genre worthy of respect and analysis like any other.
I will never stop loving TSF, will never stop reading, viewing, or otherwise enjoying it, and I have no intention to stop talking about it. However, I think it’s time for me to step back and return to my truest and highest passion, writing my own original TSF stories. Because I have no shortage of stories I’ve got to tell, and unless I pick up my keyboard, unless I invest the time and focus, they’re never gonna get told.
Only then, once I have more stability and order in my life, once my creative desires are under control, will TSF Showcase return. It won’t be weekly, it probably won’t be monthly, but there is too much good shit out there for me to not talk about it sometimes.