Archive for the Classic Yuri Category

Discovering New Yuri 2017 Presentation

August 21st, 2017

At Yurithon 2017 I did a presentation called Must-Read/Must-Watch Yuri.  At Flamecon 2017, the same presentation was presented as Discovering The Best New Yuri Anime and Manga.

I promised to put the entire presentation up here, so folks could draw on the links, rather than taking photos of the screen. Not that I didn’t want them to do that, but this is SO much easier, I hope! For reasons, the videos were making it impossible to upload as a Powerpoint (and not everyone has that, so I’ve taken out the videos and converted the presentation to PDF. The links should work for you. Only the Utena Blu-Ray and Citrus anime have no links, as they currently have no ETA. 




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Yoshiya Nobuko’s Hana Monogatari, Part 2 (花物語 下)

April 6th, 2017

Today I award myself a Yuri History Achievement Badge. I have finished Yoshiya Nobuko’s Hana Monogatari, Part 2 (花物語 下).

So many dead girls.

Girls died from starvation, illness, train accident, ship sinking, and at least one threw herself off a tower. It would be creative if it were, say MURCIÉLAGO, but as it it wasn’t, it was actually a little distressing.

The second half of the series continues the trend we saw in the first half of the collection, as stories became longer and longer as the series went on. In some cases, it worked and others not so much. I will say this about Yoshiya-sensei’s writing – as she has more time/page count to spend on story, she never fell back into lazy writing. Characters get more developed and fleshed out and while large, overarching themes repeat, none of the stories are themselves repetitious.

This second half is notable for containing the fascinating, yet ultimately depressing, Yellow Rose (which has been wonderfully translated by Dr. Sarah Frederick and is available digitally. I recommend it highly and hope you’ll all consider picking it up  For a mere $2.99, you can read one of Nobuko’s best-known, and genuinely interesting stories.

Of the two stories that stick with me, most I have completely failed to remember which flowers they were attached to. ^_^; One, exceedingly long story, spoke of two sisters, one plain and of average intelligence and accomplishment who sacrifices everything to help her musically talented and attractive younger sister to thrive after they are orphaned. It was such a massive ball of misery that just kept dragging on. It never became hopeless, it just didn’t end, and then she died. Well, then. But her sister, at least, did thrive, and I suppose that made it all worth it. Somehow. 

My second-favorite tale was about a young woman who lived alone with her mother and younger sister who quits school to begin working. The description of the office workplace, with the female secretarial and typist pools working with the male staff was fabulous. It was if suddenly we were catapulted from the turn of the century into a 20th century background that we would instantly find recognizable. Men and women smoking in the office(!) and the young typist forming a strong affinity for the woman who ran the typist pool. It was all so 1930s urban. I could picture the clothes very clearly. ^_^ This stood out because, along with Yellow Rose, it portrayed a young woman becoming a professional typist as a kind of freedom and also as a kind of bondage.

Also very interestingly, the second half includes bullying at school – of the sniping behind one’s back kind – and a few stories which were built around betrayal.

If there was one theme, though, that kept repeating, it was the way in which young women interacted with the technologies of the day. From a steam train ride through a horrible frightening storm, to war-time telegraphs, to typing, this books is set firmly in the 20th century in a way that the first half just wasn’t. City vs country was another motif. A number of the stories contrasted urban vs rural. It was pretty obvious that Yoshiya-sensei herself favored the city, but that meant that she often had her characters defend the rural areas with vehemence.

Hana Monogatari was less inside it’s own head than the dense and self-absorbed Yaneura ni Nishojo. The short-story format gave Yoshiya-sensei a chance to really delve into creating different scenarios and the characters who would inhabit them. We spend enough to time with characters, to (in many cases, ) predict the character’s reactions. There’s less frivolity and phantasm in this half, but instead it is filled with a loving look at modern Japanese life in the 1930s through the eyes of young women who lived or died during that time.


Overall – 9

I’m pretty sure that, despite the privation and deaths, I enjoyed the collection as a whole. ^_^ But “Moyuruhana” from the first half still wins and I hope one day to read that in translation. 


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New Cardcaptor Sakura Manga Series in June

April 26th, 2016

ANN has the scoop513FFeTeOrL on CLAMP’s classic magical girl series, Cardcaptor Sakura, which is getting a new manga series to celebrate it’s 20th anniversary!

Debuting in June, in Nakayoshi magazine the series will be a true sequel, picking up with Sakura in middle school. (hrm…2018 will be Sailor Moon‘s 25th anniversary. I wonder if we’ll get a new story for that, now that Crystal has been so successful.)

Here’s hoping for more of the wonderful bent characterization and gorgeous CLAMPian art that made the series delightful the first time around!



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Yoshiya Nobuko’s Hana Monogatari, Part 1 (花物語 上)

January 10th, 2016

HMono1If I bothered to make New Year’s Resolutions at all, my one resolution for 2016 would have been that the first Japanese novel I completed would be Yoshiya Nobuko’s Hana Monogatari, Part 1 (花物語 上). It was, for most of the 20th century, the definitive collection of girl’s literature in Japan, as Laura Ingalls Wilder’s Little House series was in the 20th century for American girls, and as The Babysitters Club is to people younger than I am. ^_^ It is also considered by many people to contain early proto-Yuri work.

And so, after many days of diligently plowing through some amazing – and some amazingly awful – stories, I have fulfilled that non-existent resolution. ^_^

Hana Monogatari, “Flower Tales,” were originally serialized in girl’s magazine Shoujo Gahou from 1916-1924. Each story is named after, and sometimes refers in the story, to a specific flower. The stories follow young women in their teens and early twenties, most often in school, but sometimes as they strike out into adulthood.

The first part of the collection begins with a ribbon story – that is, a scenario that is meant to tie the stories together. In this case, it is a number of middle-aged women, sitting together and reminiscing about their youth. The first dozen or so stories are presented as a flashback, but about midway through the volume, the ribbon story slowly fades and we’re left with a remarkable collection of stories about girls and young women, written by a young woman in Japan in the 1920s.

I’m not going to summarize every story. I honestly couldn’t, simply because there were some where my comprehension was tenuous, to say the least. And I’m kind of on the side of grumpy old folks who say Japanese kids’ reading comprehension has gone down, if this was what was popular with middle school kids in the 1920s! Compare this to most Light Novels being published for adult otaku and Hana Monogatari is practically college-level reading. ^_^;

After reading a number of stories, I started taking notes when a piece really stood out. The first such story was “Cosmos,” sometimes noted as a clearly proto-Yuri story. I’d disagree with that, but that’s an argument for another time.  Cosmos is made up of a girl’s letters to her onee-sama as her mother is in the hospital, ending with her mother dying and the girl having to leave school forever. My note says only “Brutal.” It’s not the only one. Death is a common factor in many of the pieces. The worst of these often had a red shirt on the character from the get-go, such as the younger brother in “Tsuriganesou.” It was instantly obvious the kid was gonna die, but still, the news was presented without a hint of feeling or compassion and I actually flinched when the neglectful uncle bothered to tell his sister. “Ah, um, so…he’s dead.”

“Shiroyuri” was sweet and hopeful, while “Fukujusou” is one of the few stories with what can be considered a “happy ending” when a girl who was parted from her onee-sama meets her again as a young adult.

“Hinageshi” started really beautifully, with two girls meeting at school, dancing in a patch of red poppies flowers and talking while in the rocking chairs in the waiting room, but ended up rather emptily.

“Himomo” was a strange little tale of a girl who is giving and kind, so of course the other girls make fun of her for her sense of responsibility. She has a habit of taking care of what we might think of as a lost and found box. In it, she finds a little set of bookshelves, with lovely letter from a teacher who had to leave the school. I believe this was the first story I read that did not end in a melancholy fashion.

The first story with anything approaching what I would consider to be Yuri, was “Tsuyukusa.” Akitsu and Ryouko love each other, they “yearn” for each other. When they are parted it is harsh and abrupt – and rather cruel on Ryouko’s part. I immediately note the use of the name “Akitsu” – the same name given to one of the protagonists of Yaneura no Nishojo. I wonder who Akitsu was, and what she meant to Yoshiya-sensei. ^_^

“Benibara, Shirobara” was a sweet story that was sweet without melancholy. With the Red Rose/White Rose contrast, I of course saw the kernel of the Rosas of Lillian Academy. ^_^

There were two stories that were really the standouts for me. Of these, we’ll start with “Dahlia,” as I have already brought up Maria-sama ga Miteru. ^_^ This story follows a woman out of school, Touko. Touko has become a nurse in the town in which she attended school. When a former classmate is admitted to the hospital, the former classmate’s rather wealthy and prominent family asks Touko to be their daughter’s private nurse. The head of the hospital strongly encourages her to do that, as it will be good for her both monetarily and prestige-wise. But that night Touko is on the ward comforting a small child whose mother isn’t there and she realizes that this was why she became a nurse. She rejects the offer in order to help people who really need the comfort and companionship. Shades of Marimite‘s Matsudaira Touko lay heavily over me as I read this story, remembering Touko’s own story of early life in a hospital and the nurses there who were kind to her.

The last story of note was really noteworthy. Called “Moyuruhana,” which Dr. Frederick (the scholar who brought us the superb translation of Yellow Rose from Hana Monogatari, which I reviewed in February 2015) suggested be translated as “Smouldering Flower”. This story was…well, it felt sort of like a vampire story without any vampires. Midori becomes infatuated with “Mrs. Kataoka” a new teacher at school. The use of the English “Mrs.” is emphasized, rather than calling her Kataoka-fujin or -sensei. Midori comes to Mrs. Kataoka’s  room one night, where the teacher is described like a “Snow Queen”, pale in the reflected light of the snow outside. Mrs. Kataoka embraces Midori, whispering that young girls like her “are the best.” At this point I read the rest of this story as if it were a kind of Carmilla-esque tale and it worked *perfectly*.  Midori becomes increasingly obsessed, but when she tries to see Mrs. Kataoka again, she’s stopped from entering by a mysterious older woman who strokes a black cat (!).

A guy in a black suit arrives to try to pay off the principal, Wagner-sensei (ya see what I mean about Carmilla, yes?), to hand Mrs.Kataoka over, Wagner-sensei tells Mr. Suspicious to bag off, he threatens the school.

The climax of the story is in fine Gothic form as the school buildings go up in flame and neither Mrs. Kataoka nor Midori can be found and both disappear from the story completely. In the final pages, Wagner-sensei suddenly becomes the protagonist of the story by saving the school.

This was so eyebrow-raisingly amazing a story, I couldn’t wait to tell you about it. ^_^

The initial chapters/stories are short, but as her work grew in popularity, clearly she went from shorter stories to longer ones. As a point of contrast early stories run about 6 pages in this edition and the later stories go as long as 30 or more pages.

Color, too, plays a big part in the stories, as one might expect. Frequently the color of a flower is one of it’s significant qualities. Red roses, violets, tiger lily, daisies, and so on, so you can imagine the scene quite spectacularly clearly when I say “a field of red poppies” or “violets in the garden.” The mood of the story is often tied up in the color associated with it. Lavender twilights and melancholy, golden sunshine and daises, that kind of thing.

My admiration for Yoshiya-sensei jumped up by significant amounts reading this book. While many of the stories were tinged with a melancholy, she manages to play around with tone and voice quite a bit – especially as the stories progress.


Overall – 9

This was not an easy read, there were any number of deaths to deal with, but as I read her work, I’m coming to appreciate it more and more. Hana Monogatari deserves it’s status as the definitive example of early 20th century Japanese girls’ literature. I’m really looking forward to getting to Volume 2!

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Rose of Versailles Manga, Volume 11 (ベルサイユのばら)

September 17th, 2015

RoV11When I was in Japan last, you may remember I had a chance to see the anniversary event for Margaret magazine. One of the best-known titles that has ever run in Margaret is Rose of Versailles (ベルサイユのばら) by Riyoko Ikeda.  Ikeda-sensei was asked to write something about her masterpiece for the event and, as she says in the author’s note in this volume, that’s when she had the idea of writing new stories to celebrate the 40th anniversary of the work., many years after the first ten volumes had been completed. This is the first volume of her new ideas.

My question, of course, is where does one go to write new stories about a series that ended with such finality? Before, after or in between the cracks? The answer, contained in the pages of Volume 11 of Berusaiyu no Bara, (ベルサイユのばら) is…all of the above. And it was sublime.

Each chapter follows a single character from the original story. We sometimes get a  glimpse of their early life, as in the chapters that focus on Andre or Girodel, or an episode post-revolution as we do get Fersen and Allan.

The chapters are broken up by “Fan Room” pages, in which Ikeda-sensei asnwers frequently asked questions about Oscar and the featured characters. As she did, so shall I, by reminding you of who everyone is.

It’s a fair bet you’ll remember Andre, the servant and eventually lover of the story’s hero, Oscar Francois de Jarjeye. Girodel is the young man she beat out for the position of the Captain of the Queen’s guards and who remained Oscar’s good friend right to the end. Allan was the sergeant of the French Guards, when Oscar took a demotion to fight with commoners. He opposed her at first, but eventually came around to admire Oscar…and to love her. Hans Axel von Fersen was a Swedish noble at the French Court who, you may remember, became Marie Antoinette’s lover and with whom Oscar fell in love.

In the course of the story we get cameos from Oscar’s father, Andre’s grandmother and Allan’s dead sister, corpse in situ, Rosalie and Bernard and others.

We also meet some characters less well-known in this volume. (We know they are less well-known, because they all are given a “who are they?” panel in the Fan Room.) Oscar’s niece Lulu, Marie Terese, Antoinette and Louis’ eldest child who escaped the guillotine, but was forcibly deported to (or perhaps negotiated for by) Austria and a childhood friend of Andre’s who has become the Duke Orleans’ mistress.

All the chapters were exactly what you expect from Rose of Versailles. Tons of melodrama and so many tears! People cried over Andre’s death, Oscar’s death, Antoinette’s death, the revolution, France…it was all a lot of fun. ^_^;

Of interest to us here on Okazu was this spread: We Love Oscar-samaOscarlove
















These pages detail all the people who were “in love” with Oscar. Andre, of course and Rosalie, of course, Allan, Louis Joseph (one of the Bourbon children)  and “Other Ladies of the Court.” This last can be seen in the bottom left, in a picture one can only describe as Oscar macking on the lady.^_^


Art – 8
Story – Did I mention the crying? 8
Characters – 9
Service – 1 on principle
Yuri – 2 ’cause of the spread

Overall – 8

I have to say, I really enjoyed this volume. Finished it, tears and all, with a huge grin. I had no idea that I’d be so glad to see these characters again! Now I’m dying to read Volume 12!

Who can tell me the name of Oscar’s sister? Answer in the comments. A prize may be forthcoming. (Don’t cheat and look it up, that’s no fun.)

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