Archive for the Guest Review Category


Cocoon, Entwined, Volume 6

June 26th, 2024

Two girls with long, flowing hair in white, flowing dresses run offscreen, clasping hands and looking at one another.Guest Review by Patricia Baxter.

As the curtain closed on Yuriko Hara’s Cocoon, Entwined series, I knew that a truly remarkable story had ended.  There have been times when I’ve experienced narratives, manga or otherwise, with strong writing in their characters and world-building, only for the ending to stumble, negatively altering my perception of the entire work.  Thankfully, Cocoon Entwined did not falter but instead ended in a tremendously fulfilling way, both in terms of its numerous visual book ends and how each principal character emerged from their metaphorical cocoons.

As the Christmas dance reaches its climax, the cycle of Hoshimiya Girls’ Academy is finally disrupted in a dramatic and unsalvageable way.  Even more shocking is that this disorder isn’t caused by Youko, the main protagonist, with her verbal plea for change, but by Hoshimiya-san whose actions speak the loudest without saying a single word.  Some readers may be put out by Youko not having the big dramatic “win” during the dance, but I felt Hoshimiya-san being the one to unravel this unchanging cycle made the most sense.  Between her familial connection to the school, her dramatic exit setting the stage for the whole narrative, and the way she has been constantly idolized and objectified by other characters, it is only fitting that Hoshimiya-san finally reasserts her agency by ending the system.

Thankfully, Youko has her moment of personal triumph when she meets up with Hana in the dressmaking room for the last time.  Youko shows just how much she has grown since the beginning of the series, and Hana is finally taking the initiative to step away from her role as the “prince”.  Their dance might be one of my favourite sequences in this series, showcasing just how much these two girls have changed themselves, and each other, for the better, genuinely making me misty-eyed as I read it.

The rest of the cast is also given their chance to change and move forward, though Ayane and Haruka’s story felt a bit rushed in comparison to the rest of the cast.  I honestly wish we would have had more time to explore their relationship, especially considering how much Haruka has been impacted by Ayane’s actions, but the resolution we do see is still satisfying.

As always, Yuriko Hara’s art is some of the most gorgeous art you can ever read in comic form, with extremely striking visuals that stay with you even after you have closed the book.  It is clear to me that she is an astounding talent in the medium of comics, who continues to develop and hone her skills, and I look forward to seeing what projects she tackles next.  I also sincerely hope that we can get her two manga collections, Out of the Cocoon (アウト・オブ・ザ・コクーン) and Atami no Uchujin (熱海の宇宙人), in English someday soon, since her talents in writing and art also excel in one-shots, as showcased in the Éclair and Bloom Into You anthologies.

Cocoon, Entwined was a delight for me to read, both as a yuri manga for its depiction of sapphic relationships and as a manga for showcasing the power of storytelling that only comics can achieve.  Even if I can’t see more of Youko and Hana’s story, I know that they are walking together, moving forward and always remaining open to changing themselves for the better.

 

Art: 10

Story: 10

Characters: 10

Service: 2 (for Youko and Hana wearing slips on the cover and during the dance sequence)

Yuri: 10

Overall: 10





Cocoon Entwined, Volume 5

June 20th, 2024

On a black background a girl in a black, old-fashioned school uniform runs off the cover, her long hair flowing across the cover behind her.Guest Review by Patricia Baxter.

If there is one word you could use to describe the penultimate volume of Yuriko Hara’s Cocoon Entwined it would be “change”.  While it is clear that these changes have been gradually building up since the series’ inciting incident of the elusive and mysterious Hoshimiya-san cutting her hair and leaving the school, Cocoon Entwined, Volume 5 showcases how the rest of the cast is now changing, or refusing to change, in response to how they’ve grown or stagnated.The volume begins with an interlude from Takagi-sensei, a teacher who has been present in the series since its first volume, and yet not given much of a role outside of providing exposition on Hoshimiya Girls’ Academy’s history.  We learn about her personal history as a student, watching her two onee-samas’ love flourish and abruptly end once the eldest of the pair graduates.  In the present, Takagi receives a letter from this eldest onee-sama: a wedding invitation revealing that she is engaged to a man.  Takagi’s story reinforces the classic formula of Class S narratives, where the love between two girls is merely “play-acting” love, a “practice” for adulthood where one enters “proper” heterosexual relationships, just as Takagi’s eldest onee-sama eventually does.  These stories are of bittersweet, ephemeral love, that cannot continue outside of the school walls.

Thankfully, Youko enters and disrupts this melancholic narrative, prompting Takagi-sensei to take up the pen, literally and metaphorically, to help re-write the story and end the cycle.  Chapter 30 highlights that while Class S narratives are an important baseline for many contemporary sapphic narratives, yuri or otherwise, they cannot continue as they have in the past.  As the world continues to grow and change, we need to be willing to foster a narrative environment where sapphic girls and women can find happiness together, rather than “grow up” and fall into society’s expectations of heteronormativity.

On the flip side, Ayane’s story shows the negative implications of change, specifically when it is done not out of personal desire, but to fill and fulfill a role for the sake of tradition.  Ayane’s obsession with Hoshimiya-san causes her to latch onto the void she left behind, wishing to shape herself into the “princess” of the Academy, and make Hana her prince.  Ayane’s current arc in the story shows just how damaging holding onto certain legacies can be, as she forces Hana, Hoshimiya, and herself to participate in a cycle that is causing them all grief.

In terms of visuals, Yuriko Hara continues to be one of the most gorgeous and striking comic artists I have ever read, not just in terms of her use of light and shadow, but her dynamic panelling and visual metaphors.  This volume in particular showcases Hara’s prowess in creating some truly haunting visuals, my favourite of which being the two-page spread of the seniors covered in veils before the Christmas party.  This feeling of dread permeates the entire book, even when the scenes are brightly lit, but thankfully the spark of hope, and change, remains true.

Volume 5 of Cocoon Entwined is an excellent book to read, building up on the tension that Yuriko Hara has established since the series’ inception, and continuing to showcase her prowess as a cartoonist and character writer.  While it is clearly setting the stage for the grand finale, it remains an engaging and engrossing read, asking important questions about the nature of the stories we tell and re-tell, and providing an insight into how we can change those narratives for the better.

Ratings:

Art: 10
Story: 9
Characters: 10
Service: 0 (unless you count gorgeous art as fanservice, which would make it a 10)
Yuri: 8, but it’s a bittersweet and, in some cases, more of a performative gesture than genuine desire
LGBTQ+: 2 (Chapter 30 addresses heteronormativity and societal expectations)

Overall: 9





Himegami no Miko (姫神の巫女)

June 12th, 2024

A girl with long dark hair, wearing a black and purple Japanese school uniform, and a blonde long-haired girl in a uniform with knit vest and blue skirt partially embrace as they look at us out of the sides of their eyes.by Rachel Gruber, Guest Reviewer

As a teen growing up in the 2000s, my introduction to yuri anime naturally came in the form of the “big three:” Strawberry Panic!, Simoun, and of course, Kannazuki No Miko. The latter is as iconic as it is infamous, so it’s no wonder that its creators, Kaishaku, chose to bring back poor Chikane and Himeko in series after series over the years. After their truly atrocious 2009 outing in Zettai Shoujo Seiiki Amnesian (Volume 1 and Volume 2 were reviewed here in 2010,) a series rightfully given a 1/10 here on Okazu, Kaishaku made the wise decision to let Chikane and Himeko sit out the 2010s. But by the time 2020 rolled around, they were apparently ready to get back to business. Enter: Himegami No Miko.

This fourth(!) incarnation of Chikane and Himeko have returned with a distinctly modern art style that’s reasonably cute, if admittedly lacking any unique distinguishing features, and a story with a decent mix of new and old concepts from previous series. Instead of a story that ends with the two fated lovers having to kill each other, this one begins with assassination as its core goal. Each of our heroines come from two noble houses on an island ruled over by the evil snake demon Orochi (who is unfortunately not a robot this time) and, upon reaching the proper age, are meant to have the usual duel to the death in order to determine who gets to be this generation’s sacrifice to said evil snake demon. But unlike every previous iteration of these characters, Himeko manages to show some actual agency for the first time by running away from her fate. When Chikane inevitably follows her and ends up on the mainland, she also finds herself making a promise to serve as Himeko’s friend until the date of their duel–at which point Himeko will allow Chikane to kill her. Not exactly breaking the mold when it comes to murder promises in yuri, but it’s a solid enough foundation to build a romance on. Everything is in place for Kaishaku to hit us with another terrible cash-grab. There’s just one problem:

Himegami No Miko is…actually pretty good?

The story is nonsense, of course, and you’ve got your standard sexual predator/fanservice elements that you can expect from Kaishaku, but there’s also enough heartfelt emotion in there to get the reader at least a little invested. What really makes the series stand out, however, is its characters. The usual cast have been given more than a fresh coat of paint this time around; Chikane is less full of self-hatred and guilt than usual (and not a rapist! Yay!), Souma has become both a girl and a villain, and Himeko…Himeko actually gets to do stuff this time! She even gets the best moment of the series, a shocking villainous turn that made me gasp in real life. Throw in a final third full of appropriately dramatic and daring rescues, climactic showdowns, and other unoriginal yet enjoyable moments before providing an actual happy ending, and you’ve got a series that left me smiling far more than I’d like to admit.

Is it still a mess? Absolutely. Supporting characters drop in and out without warning, logic gets tossed out the window on more than one occasion, and there is a hilarious amount of blatantly incorrect medical information. On its own, it’s a dime a dozen action yuri series. But as a sequel to Kannazuki No Miko? I can’t believe I’m saying this, but I think it might be better. Hell, it might even be better than Shattered Angels. It shouldn’t be possible, but here we are. Himegami No Miko is good. Not great, but good. And after Zettai Shoujo Seiiki Amnesian, that might as well be a miracle.

Ratings:

Story – 6
Art – 7
Yuri – 9
Service – 5

Overall – 7

Erica here – You can read the first chapter of Himegami no Miko as a free sample in Japanese on Comic Walker. I admit to having forgotten to finish it. ^_^; Perhaps I’ll get back to it if this is a decent-er ending than the last…3 times. ^_^





Run Away With Me Girl, Volume 3

May 22nd, 2024

Two women in wedding dresses laugh happily holding a colorful bouquetGuest Review by Matt Rolf

Having run away with high school friend Makimura as an adult in Volume 2, Midori wants to keep running in Run Away with Me Girl, Volume 3. Fortunately for her and for the reader, we are finally at a point in this series where Midori has to make a clear decision about what she’s going to do. Battan graciously provides some clarity and closure to this interesting series, but don’t expect much more than that in this final volume.

The first volume of this series was rocky and dealt with challenging relationship questions; the second volume gave the characters space on an island away from the ordinary to try and answer those questions. The third volume, by comparison, is something of a letdown. The main plot point gets wrapped up, but a lot of the hard issues raised by the first two volumes get swept under the rug.

What is sexual orientation? How does that square with societal expectations and our own desire? How do we reconcile our day-to-day responsibilities when they may not be compatible with our core values? What if we push our core values away and make toxic choices in an attempt to meet those responsibilities? What does it mean to commit to someone? And what does it mean to unwind one’s life after having committed? All of these questions are raised implicitly or explicitly by the first two books. While these are admittedly hard questions without easy answers, the final payoff comes without addressing them fully. Maki and Midori’s epilogue is fine, if a bit too obvious. Komari’s epilogue is annoying, bordering on infuriating to this reviewer.

Perhaps, like Midori through most of this work, we’re not supposed to think too hard about the answers to those questions. Maybe the answers are just matters of the heart. Even so, I think the characters deserved a more thorough reckoning with the choices that they made. Maybe once Battan has some distance to this story they will reconsider and give us another volume.

The artwork is still good, but the impact is less than the first two volumes. Battan gives the culmination of the book the rich attention it deserves. Outside of that, the drawings don’t hit that hard.

Finally, this book is yuri. Exhausting, aggravating, and annoying, but in the end, yuri: the exploration of a semi-toxic relationship between women that concludes with as little character growth as possible. And that, if nothing else, will make you think.

Final Verdict: A disappointing ending to a challenging series.
Series Verdict: Worth reading and thinking about.

Published by Kodansha Comics, with translation by Kevin Steinbach and lettering by Jennifer Skarupa.

Ratings

Art – 8
Story 5 – This is fine.
Characters – 7 I wouldn’t be let down if I hadn’t had any expectations.
Service – 5 Tease me, please me, no one needs to know. -Scorpions
Yuri – 8
Overall – 5 for this volume, 7 for Vol 1-3 inclusive.





Otherside Picnic Manga, Volume 9, Guest Review by Sandy F

May 8th, 2024

Two women sit on a bench outside a dilapidated building, eating. The blonde holds a rise ball in both hands one of which is transparent, the brunette with one blue eye and one brown eye holds a sandwich, as she speaks animatedly, smiling.Recently, to much excitement, the cover for the ninth novel of Otherside Picnic was revealed. What I noticed was how it was a neat reminder of the importance of food and drink in this series.

And food is certainly a theme in Otherside Picnic manga, Volume 9.

We have already witnessed the importance of food and drink as a way for Toriko and Sorawo as a way to recover from the trauma of the Otherside. In the conclusion to ‘The Little Birds in the Box’ Toriko and Sorawo are joined by Kozakura for a meal. A meal that leads to a conversation where Kozakura struggles to understand the hold that the Otherside has over Toriko and Sorawo despite their best efforts to explain it.

And then, with Yamanoke Presence, we have the main event! In volume 3 of the novel series, we finally had the picnic that the title promised us, and now we have it in the manga series.

It is a fun moment, with just a dash of weirdness. But in Yamanoke Presence we are reminded of what I find to be one of the compelling strengths of Otherside Picnic; its ability to shift from a cozy slice of life moment to encounters with horrors that will haunt your dreams with a dash of ‘what the heck is going on?’ conversations. For example, one of my favourite moments is watching an absolutely clueless Sorawo trying to understand Toriko’s family solution.

In this volume we also witness moments of Sorawo and Toriko’s vulnerability, particularly in the aftermath of The Little Birds in the Box. I was struck by the sight of Sorawo without her glasses, lying in a hospital bed hand in hand with Toriko. For me this moment was a reminder that Sorawo and Toriko are young women who may be strong enough to face the terrors of the Otherside, yet at the same time are struggling to connect with themselves and one another.

One of the many things I appreciate about Otherside Picnic is how Iori Miyazawa uses dialogue to make observations about larger issues. For example, Toriko’s response to Sorawo’s description of the Yamanoke critter possessing women and Toriko responds with a compelling question, “why do so many of these things go after women?” One aspect of the artwork I found very compelling is how successfully conveys Sorawo’s struggles with the Yamanoke as it possesses her. We definitely get the sense of the Otherside seeping into Sorawo’s consciousness.

Remembering that the entities of the Otherside take forms shaped by folklore and urban legends created by people, creating stories where women are all too often the victims.

We also have the first chapter of Sannuki and the Karate Kid, and A Daytime Guest which gives us Kozakura’s perspective on ‘Karate Kid’.

I confess that I enjoy watching Sorawo in full panic mode as she tries to figure out how Akari Seto found out about Kozakura’s place, and then more panic as she faces being dragged into someone else’s problem. The mention of Satsuki Uruma doesn’t help the situation, especially as her baleful presence has been noticed by Sorawo throughout the volume. Sorawo wonders what does Satsuki want, and how much of a threat is she to this unfamiliar sense, for Sorawo, of being happy? Through conversations and reflection we gain more insights into Sorawo and Toriko that reveal their unique path towards being in relationship with one another as they learn more about themselves.

Another great volume in this series.

Ratings:

Story – 9|
Artwork – 9
Character – 8|
Service – 6
Yuri – 8

The mutual nature of their relationship is growing as Sorawo muses on how much she enjoys sharing the Otherside with Toriko. But for a brief moment I do have to give a 0 rating with Sorawo’s complete befuddlement over Toriko’s parents!

Overall – 9