Archive for the Guest Review Category


GATE Anime (English) Guest Review by Jennifer L.

March 2nd, 2016

gateIt’s Guest Review Wednesday here on Okazu! (One of several coming up, yay us!) Today we’re welcoming back Guest Reviewer, Jennifer L.! Please give her a warm welcome. The floor is yours, Jennifer!

The anime adaptation of Gate: Jieitai Kano Chi nite, Kaku Tatakaeri, or Gate, is currently being released one episode per week on Hulu or Crunchyroll in the United States, and may also be available on other streaming outlets.  Erica has very graciously allowed me to return as guest reviewer to say a few words about it.

Gate has a fairly standard set-up in fantasy literature — indeed, the subtitle, which could be translated as “The JSDF fights like this over there” gives strong hints about what’s going on. A rift between parallel worlds has been opened in the Ginza area of Tokyo.  On the far side is a pseudo-medieval feudal society where magic works.  Convinced of their own invincibility, the ruling empire sends through a conquering army of goblins, armored knights, and dragon-mounted cavalry.  They rampage through Ginza, and have things pretty much their own way, until the Japanese Self-Defense Forces get mobilized, after which nothing really goes their way.

The viewpoint character, Yoji Itami, is a young JSDF officer.  He distinguishes himself in the battle of Tokyo, and subsequently gets included in the excursion through the eponymous Gate.  On the far side of the Gate, Lieutenant Itami and his Third Reconnaissance Platoon explore the terrain of the “special region” beyond, and encounter the populace of the Empire.

There are silly things about the situation.  The Imperial Princess who becomes the JSDF’s friendly contact with the Empire has the ridiculous name of Piña Co Lada.  The battle priestess who teams up with Itami and company has “ceremonial vestaments” which look like thigh-baring gothic lolita fashion; when people are dying around her, such as during a battle, she becomes sexually aroused.  Most female characters of the special region who are anything other than background peasants have costumes which are rather… skimpy.

But here’s what really caught my attention about the series.  While it has aspects of the harem anime trope, with various characters expressing attraction to the viewpoint character, Lieutenant Itami, it also has two Yuri couples: one implicit, and one explicit.  The implicit couple consists of the forest elf refugee whom the third recon platoon rescues, Tuka, and the platoon’s medic, Mari.  As of this week, episode 16 of 21, nothing has actually happened between the two, but Tuka’s eyes often follow Mari, and when the battle priestess teases her, “so, that’s the kind of girl you like?” Tuka blushes instead of denying it.

The second couple is explicit, and involves the battle priestess, Rory, herself.  In this world, we are told, priestesses become demi-goddesses, and after a thousand years of service (Rory is on year 961) ascend to become goddesses themselves.  One of the goddesses who has already ascended, the underworld goddess Hardy, wants Rory as her bride.

That’s it… in the whole series, there’s a teenage girl with a crush on another, slightly more mature girl, and a goddess who covets a demi-goddess as her bride.  Hardly a core Yuri series, right?  So why do I consider it worth talking about?  Precisely because it’s not a core Yuri series.  Bear with me for a moment.

As Yuri fanciers, we of course want more Yuri series.  We want to see girls falling in love with girls, not for the male gaze, not as a stop-gap until they meet the right man, but in love with each other for each other, and for us.  We want to see ourselves and our experiences reflected on the screen.  And sometimes, we’re lucky enough to get exactly that.  But as I’ve encountered recently, trying to sell my Yuri novel, there’s a perception that in the United States the only real audience for Yuri is women who are romantically or sexually attracted to women.  Straight women, the theory runs, will buy male/male romance, but female/female romance isn’t what straight men want.

So the inclusion of not one, but two female/female romantic pairs in the cast of Gate is an example of inclusion.  Among all these hetrosexual attractions, there are dropped a couple of girls who are attracted to girls… and no one makes a big deal about it.  It’s just a thing that happens.  It feels to me like this is social acceptance, an acknowledgement that there are girls who happen to be that way, and it’s just the way things are.

Nor is Gate the only series in which I’ve noticed this.  In Amagami, an anime based on a dating sim, the character Rihoko is in the school’s tea club.  Her senior students are two girls who are always together, and are depicted as still being inseparable in a flash-forward which is set years later. While they are never explicitly referenced as a couple, those with eyes will see.

You’ll have to decide for yourself if this kind of casual inclusion is truly culturally significant; if it really represents the beginnings of wider acceptance of female/female couples.  To me, it feels as if it does, precisely because no great fuss is made over Tuka’s attraction to Mari.  It’s not played for the male gaze, there are no steamy kisses or awkward fumblings… it’s just a thing which happens.  A local falls for a soldier, as has happened in every conflict throughout history, including my own parents.

Even if you don’t feel that casual inclusion is significant, however, Gate is an enjoyable series.  More depth is given to developing characters than you might expect… even characters with silly names. If you like fantasy series that don’t involve high school students, this one is right up your alley.  One word of warning, however: in one episode, there is a fairly explicit scene in which the Imperial Prince Zorzal sexually abuses his captive, the Bunny princess Tyuule.  The scene is not gratuitous; it serves an important purpose in establishing Zorzal’s character and Tyuule’s motivation.  None the less, if such abuse is a trigger for you, you should avoid the episode.

Ratings:
Art – 7
Story – 7
Characters – 8
Yuri – 2
Service – 5

Overall – 7

Jennifer Linsky is currently seeking a literary agent for her Yuri science fiction novel Flowers of Luna.  More of her writing can be found on her sporadically updated blog.

E Here: Thank you again, Jennifer, it’s good to have you back. ^_^  Although I’m going to say that these don’t read as couples at all to me, just pretty standard Yuri-service included for people who enjoy that kind of thing.





Yuri Manga: Kinoko Ningen no Kekkon  (きのこ人間の結婚) Guest Review by Bruce P.

August 26th, 2015

KNnK1

OMGOMG! We have a Guest Review! Not just any Guest Review, a Guest Review by the incomparable Bruce P.! And not only a review by Bruce, but his 10th review here on Okazu! Settle in, folks, this is going to be a heckuva ride, but you’re in capable hands. Take it away, Bruce!

Heavily discounted, pulled from a dark shelf in the way, way back at Mandarake, Kinoko Ningen no Kekkon  (きのこ人間の結婚) by Murayama Kei had the aura of nasty all over it. From the half-dressed bubble-headed girls clinging to each other on the cover to the title itself—Marriage of the Mushroom People—it promised awful. Really awful. A Yuritetsu for the mycological set. Naturally I snapped it up.

Well, it isn’t awful. I don’t intend to sound disappointed, but in fact, it is actually a ripping good story, in a quirky sort of way, if you can get over the fungus-infected spiders. Definitely in the sub-genre of hobby enthusiast’s manga, written to appeal to anyone who has specific interest in both (a) mushrooms, molds, and allied fungi, and (b) Yuri, and who doesn’t want to have to read two books to get them. But Yuritetsu it assuredly is not.

Ariara and Eriera are getting married. Yes, they are mushrooms, which accounts for their being dressed in filmy mushroom stem annuli. It’s not service, it’s…botanical precision. Their marriage is a very special event in Damp Town. Not because they are both women, there’s nothing unusual about that in a world where the entire population happens to be female, but because it’s a great opportunity for everyone to get happily plastered. And that they do, as A and E head off to their new home and life together. A is a shepherd and E had been a scribe but is now learning the shepherding business, so that they can always be together, out in the fungus fields happily shepherding away. They’re so darn cute as they guide their flock of one-celled amoebas into the abattoir and lustily hack them up into sandwiches.

But their bliss is short-lived, even in mushroom years. Eriera gets sick—it’s root rot—and it’s very bad, and though she lives through it, the operation leaves her disfigured and unable to bear children. Or to father them either, which is the efficient way these things can work in this world. Ariara angrily rejects the clucking advice of sententious townfolk who suggest she should divorce damaged goods. They’re married, they’re in love, they will stay together and that’s that.

Or is it?

One of those little ‘Honey, maybe I should have told you this before the wedding…’ items that Eriera just never got around to mentioning, was that as a child she had attracted the affectionate interest of a very important person indeed, a member of the royal family—the young Princess #3. The all-powerful Fungal Queen and her three princesses are dangerous, arrogant, and psychotic, enthusiasts of strict legal interpretation when it suits them, and of arbitrary capital punishment when it doesn’t. Exactly the type you want to hear is carrying a torch for your wife. Princess #3 arranges to have E kidnapped and brought to her, because she’s a princess and can do what she wants, and have fun doing it. Her minions oblige, leaving A behind in a bloody heap.

That’s their mistake. Because Ariara gets up, wipes the blood from her eyes, and sets out to bring Eriera back. And throughout the entire rest of the book there is nothing that can stop her. Slime-mold guards riding tarantulas she brushes aside. Sheer cliffs she scales with one arm behind her back. Rings of magic fire she leaps through, mighty sword Nothung in hand…well, you get the idea. She actually is impressive. Very impressive. And she wins. She brings Eriera home.

There was never a doubt. Not for someone so focused that she can abruptly coldcock the muscular young woman who has helped them to escape the princess’s castle tower, on the basis that three’s a crowd.

There is a curious epilogue in which Ritsu from K-On! rides in on a tarantula, which seems a rather natural fit, at that, and winds up with a cute girlfriend. It’s not Mio, but that may be for the best. They look very happy together.

The art is pleasant enough, though hardly stellar. It’s somewhat sketchy, and occasionally a little obscure. There is a scene in which Ariara takes a rifle-wielding guard hostage. She does so by threatening her with what might be a banana. If so, it’s an effective banana.

Yuri is the natural backdrop in the world depicted, and the framework for the main couple’s story, but it is not the point of the story. Only one character actively engages in a little Yuri frolicking: the insouciant Princess #2, who doesn’t appear much, but when she does is considerably more interested in fiddling with her cute handmaiden than in overseeing the provincial merchants’ production inventory valuation lists (imagine).

Ratings:

Art: 6. Somewhat rough and ready, but fair enough to support the story. Not hesitant to depict all ages—young, old, and very old—quite naturally. The muscular characters (the scribes, who are stone masons as well) are very muscular indeed. And the different fungal species are well drawn. If you want to consider that a plus.

Story: 8. A fun little yarn. The plot does occasionally slow down at some long-winded legalistic discussions about things like boundary marker disputes and fishing rights.

Characters: 8. Good; bad; ugly; Ritsu. An interesting mix. The royal family are wonderfully psychotic. Ariara is a standout hero.

Yuri: 9. It’s everywhere, as framework, and there’s nothing wrong with that.

Service: 5. The filmy fronds (on young, old, and really old alike). Nothing more.

Overall: 7. Or 8. I’m going to give it 8, possibly because I was expecting such a tiny number here.

…and so Ariara has scaled the royal castle tower and is frantically kicking butt to rescue Eriera, when E helpfully states that violence is never a solution. And then she says it again. At which point A replies, in effect, Oh for Chrissake…it can’t be helped.

They’re married all right.

Erica here: Holy….what the heck did I just read? (◎_◎)
Well, if, after this review you are motivated to check this out, the first chapter is online on Poco2.  
Happy 10th review and thanks, as always!





Sound! Euphonium Anime (English) Guest Review by Christina Maria J

August 5th, 2015

Sound!EuphoniumWhoo-hoo!! Today is Guest Review Wednesday and we have a new Guest Reviewer! Welcome Christina Maria J. with a much-looked forward to review! The floor is yours, Christina Maria!

Before Sound! Euphonium aired, most people, me included, expected it to be something along the lines of a slightly more serious K-On! with different instruments. Instead it asserted its origins in the novel of the same name, to provide a mature and complex drama.

The show centers on high school freshman Kumiko, who almost besides herself finds ends up joining the band club, playing the euphonium despite her stated desire to get away from a past doing just that in middle school. She joins, only to find a club that’s both terrible and rife with old wounds being reopened by the presence of a new, ambitious advisor. Further complicating matters is the presence of old middle school bandmates, who Kumiko clearly has baggage in regards to, most notably the ambitious Reina.

A highly character-driven show, Sound! Euphonium not only juggles a large cast of characters, it actively explores a number of their lives, without ever straying from its central narrative and thematic points. This is made possible through highly efficient writing that rarely sticks to developing one plot point at a time; with almost every interaction developing multiple characters as well as the central plot. Unlike other shows, you won’t find archetypal characters doing their thing in isolation until their focus episode happens. Of the many relationships presented, the central one is that between the emotionally guarded, cynical Kumiko and the passionate, aloof loner Reina.

It is within this relationship the Yuri lies. Starting slow with Kumiko simply being heavily preoccupied with Reina, it develops to a point where the two share an intense physical and emotional intimacy that is not lost on other characters. A key aspect of their relationship is that it heavily deviates from the mold of being pure and innocent – much of their flirting is quite sexually laden – instead focusing on mutual attraction or how the other doesn’t simply conform to expectations of “proper” behavior. Both emphasize this aspect as part of their declaration of love for the other and, unusually, it is framed as a positive that helps them not only realize themselves, but learn to properly interact with society. This intense romantically and even sexually charged relationship is emphasized by how it stands in contrast to the close, platonic friendships between girls that make up most of the rest of the key relationships of the show.

On the whole, it builds up as a full romance, starting with the early stirrings of a crush and working all the way to being an established relationship. At least that’s how it comes off to me and the reading the show itself encourages. But I would be dishonest if I claimed that my interpretation wa universal. Many have found that it lacks the smoking gun of absolute proof that makes them feel like the creators truly sought to present LGBT representation.

There is much more I could talk about, I haven’t touched on the show’s themes at all, for example, nor have I touched on the band plot despite the way itform the backbone of the show. I could also have discussed the care with which music and the band experience are portrayed or the strength of the visual storytelling. Instead of going deeply into these topics, I’ll simply encourage anybody who finds anything in this review even the least bit interesting to explore it for themselves.

Ratings:

Art – 10: Pushes the boundaries of anime visuals, both technically and artistically
Story – 9: Complex and mature
Characters – 10: All complex, multidimensional and sympathetic with no anime stereotypes in sight
Yuri – Personally 9: but in light of the frustrations of others and my understanding of how my own background informs my perception, I’ll say 6 overall.
Service – 2: Generally unobtrusive, but there are some questionable character poses in a few shots

Overall – 10: A truly exceptional, nuanced drama that also provides what is, in my opinion, the best looking TV anime ever made

Available on Crunchyroll in all regions except Asia.

Erica here: Thank you Christina Maria, for a thoughtful review. I’ve been waffling over whether to give this some time, since fan art is rarely a good indication of anything other than fan delusion. ^_^ Now I’m inclined to give it a try!





Re-Kan! Anime (English) Guest Review by Alice D

July 1st, 2015

75b2c08e6d279f5975a7ae77168da2881428009461_fullWelcome to Guest Review Wednesday! Today we have a brand new Guest Reviewer, Okazu Hero Alice D! I just love Guest Reviewers, it always gives me a thrill to be able to offer up a perspective that is not my own here on Okazu. ^_^ Take it away, Alice!

Though billed as a horror comedy Re-Kan! abandons the horror aspect almost immediately, for the audience anyway. The show starts with Amami, our main character with the titular “re-kan” (sixth sense) that lets her interact with ghosts, heading out for her first day of school in a seemingly normal fashion. At a crosswalk she suddenly starts hopping across and collapses in the middle of it where Inoue takes her by the hand and half-drags her to the other side of the street. Amami apologizes and explains that it was just a little boy spirit playing a prank. Inoue is confused at first but, predictably, freaks out when she catches a glimpse of it in a street mirror, and thus our two leads meet.

At school we learn that Inoue is terrified of ghosts, has a passive-agressive tsundere personality, and is very much a “grandma’s girl” to the point where her grandmother is, for lack of a better term, haunting her. We also meet Amami and Inoue’s friends consisting of Esumi, a former gangster, Uehara, Esumi’s childhood friend and occult blogger, Ogawa, who loves zombies, and Yamada, who… we’ll get to in a moment. It’s this group of friends that provides the comedy portion of the show through their interactions with each other and the ghosts that show up around Amami. There is also a rather perverted cat who very much wants to see panties, as Amami can apparently talk to cats as well (the link between ghosts and cats I am unclear on) this cat bothers her quite a lot.

As for Yamada, I still have no idea what purpose he serves. He’s the “genki girl” stereotype in boy form: loud, obnoxious, prone to breaking up moments that might otherwise serve to provide development with the Amami/Inoue relationship, and gets punched/kicked/has things thrown at him because of how annoying he is by one of other characters, usually Esumi and/or Uehara (which is suppose to be funny but is more of a relief because he finally shuts up at that point). At least with pervert cat and his quest to see girls’ panties A) he doesn’t show up as often, B) none of the characters really notice that he’s there, mostly due to C) it’s the various ghosts that stop him (which provides some characterization through their protectiveness of Amami and her friends and can be worth a laugh). The show would probably be better off without either Yamada or pervert cat though given a choice between the two I’d take the cat.

The story progresses in usual slice-of-life fashion though with the “twist” of ghosts being part of daily life for Amami who goes out of her way to provide offerings and assistance to them. There is a beach episode, of course, in which Yamada’s older, just as annoying, and slightly creepy older brother makes an appearance, and a cultural festival episode where they meet Amami’s father, who is every bit as scared of ghosts as Inoue is. This leads Esumi to point out the old saying about girls falling for people who resemble their fathers, Inoue reacts to this in standard tsundere fashion while Amami seems oddly happy about it. After this, at least once and episode, Esumi and/or Uehara go fishing for reactions from Inoue by insinuating that Inoue likes Amami a bit more than she lets on.

The best parts though, by far, come when the comedy is left behind, usually when Amami and Inoue have screen time alone. Fortunately they are fairly abundant. It’s in these moments that Inoue can show some genuine human emotion removed from the tsundere stereotype that she is locked into while the other characters are around. Most notably in the penultimate episode Inoue shows up to (nearly literally) kick Amami out of her depression by dragging her around town where they run into various people whom Amami had helped out using her sixth sense, culminating in a tearful almost love confession, but not quite (“I want to be friends with you forever”).

The final episode is a return to a “normal” life where the group goes to an amusement park, accompanied for some reason by Yamada’s brother, and have a sleep-over at Amami’s (the boys have to sleep in the yard). It ends almost as expected with the relationship between Amami and Inoue being an ambiguous ‘they have more-than-just-friends feelings for each other but won’t actually come out and say it’ sort of thing. However, the show closes on Amami and Inoue waking to the realization that they had spent the entire night holding hands and becoming very embarrassed over it. And on the roof of Amami’s house the pervert cat wakes up due to the fuss they’re making, stretches and says “Yuri? Oh yes.” before walking off screen. That parting line is certainly debatable though, it could be an indirect admission from the staff that that is the direction Amami and Inoue’s relationship is headed in or, cynically, since pervert cat could be considered an audience stand-in, it’s not to be taken seriously and is just wishful thinking. Given that the rest of the show has the other characters (except Yamada) providing good-natured ribbings to Amami and Inoue regarding their feelings for one another, I’m inclined to believe the former is the case.

Ratings:

Art – 5: middle of the road
Characters – Varies: Amami and Inoue would be around a 7, the supporting cast a 5, and Yamada a 1.
Service – 3.5: Surprisingly little for having a cat who’s only goal in life is to flip skirts and see panties, though their skirts could stand to be a hand-span longer.
Story – 6.5: (most episodes) 8: (episodes 3, 8, 11, and 12)
Yuri – 5: Most of the cast is aware of Amami and Inoue’s feelings for each other and won’t hesitate to point it out.
Overall- 6.5ish: Nothing to write home about, but definitely worth a watch if you have the time.

Erica here: I probably would never have even heard of this had it not been for you. I always appreciate the extra eyes and ears of the Yuri Network. ^_^ Thank you! 





Yuri Manga: Yuritetsu Volumes 2-4 (ゆりてつ~私立百合ヶ咲女子高鉄道部) Guest Review by Bruce P

April 1st, 2015

Yuritetsu2Wahoooo! It’s Guest Review Wednesday and we have a Guest Review! Fresh from the keyboard of the always stellar Bruce P, today he looks at three manga at once (presumably because the idea of reviewing them each individually was soul crushing.) Take it away, Bruce!  

***

“Make a remark,” said the Red Queen: “it’s ridiculous to leave all the conversation to the pudding!”

And there really is no other reason for a review of Yuritetsu ~ Shiritsu Yurigasaki Joshikou Tetsudobu Volume 2Volume 3  and Volume 4 (ゆりてつ~私立百合ヶ咲女子高鉄道部) by Matsuyama Seiji. The review of Volume 1 should have been quite enough. But in the face of good taste Yuritetsu has thrived, even making some minor noise out in the real world. I would hate to leave the final word to a pudding. A response is called for. Here it is:

Eww.

You might notice that this also effectively described Volume 1.

Which is not to say that Volumes 2-4 are just more servings of the same goo. The author has made a number of significant changes. Though calling anything in this manga significant seems kind of silly.

Yuritetsu3High school girls Elsie, Lacie, Tillie, and Peanut are still doing what members of the Yuritetsu (Yurigasaki Girl’s High School Railway Club) do best: looking like four-year-olds, acting like three-year-olds, and providing railway maps and information for train fans. Train fans who don’t much care where their maps and information come from, provided they come from girls who occasionally take their clothes off. Elsie, Lacie, and Tillie continue fighting over Peanut, while Peanut continues displaying no reason why they should actually want to. Maybe it’s a pheromone thing. It’s certainly not an intellect thing.

The big difference from the first volume is that the girls no longer do their interpersonal squirming in isolation from the rest of the world. Quite the contrary: in their travels they now encounter an astonishing assortment of other ambulatory pumpkin seeds—friends, relatives, and acquaintances, starting with their new traveling companion, the club’s faculty advisor Konomi-Sensei. She looks five, giving her the best of it, though she doesn’t act that mature. As a teacher, she’s just happy not to live in New Jersey, or in any number of places where they insist on background checks; at Yurigasaki she can squirm against Peanut all she wants. Pheromones, ick.

AYuritetsu4rtistically Yuritetsu isn’t so much a mess as a collage, which makes it sound intentional.  Stylistically different (but equally embarrassing) crossover characters from the small world of train-themed manga randomly drop out of the blue for a little inbreeding. Among these artistic inconsistencies are several creepy crossovers from one of the author’s own titles, Tetsuko na Sanshimai, about three sisters who travel around on trains (well, when you specialize, you specialize). One of these sisters is definitely not drawn as a Yuritetsu –style four year old, and in fact does not even constitute a structural possibility. As Elsie (or is it Tillie? Dopey?) says when they first meet: “Oneesan! Your boobs—and your camera lens—are huge!!” The art might be questionable, but the sophistication of the dialogue makes the series sparkle.

And here’s the peculiar real world part. In the final chapter the girls visit the Yuri Kogen Railway, a tiny line in the mountains south of Akita. In a clever bit of marketing, or desperation (it’s a very tiny line), the Yuri Kogen last year decorated an operating railcar in a Yuritetsu illustration scheme. All pink and yellow and oversized bubbleheads. Looks like desperation to me. The Yuritetsu railcar has actually been out there, trundling Peanut and her pals, along with confused Yuritetsu fans wondering why all the car-side characters seem so fully clothed, back and forth through the daffodils.

If there’s a special hell for railway motormen, it probably looks like this.

Toy maker Tomytec has jumped into the act with a scale model:

Yuritetsu Car

The item above was obtained for research purposes. Just being thorough.

As for the Yuri: the characters in Yuritetsu remind me of nothing so much as those tiny, rather pointless insects that form hyperactive clouds over water on summer afternoons. Among the little bugs in these mating swarms there may well be some rudimentary Yuri flirtations going on (who knows?), but it wouldn’t warrant a four volume treatment and a specially decorated swamp boat.

Ratings:

Art: 5.  Well, the train illustrations are still pretty good.
Characters: 2. Dropping in some doofus ex machina characters hasn’t helped this number at all.
Story: 2.  Starts low, falls through a hole at the bit with the strawberry.
Yuri: 2.  Don’t ask about the strawberry.
Service: 10.  No really, don’t.

Overall: 3. Somewhere between eww and ick.

It’s been a lot of fun, chewing these four volumes up. But now of course I will have to make a trip to Akita. For research purposes.

Erica here: As long as I don’t have to be seen near that train, I’m in.

Thank you for yet another fantastic review of a book I wouldn’t touch with a 15 meter pole.  This seemed like a perfect April 1 review. If you buy these books, the joke is clearly on you. ^_^