Archive for the Guest Review Category


Otome no Teikoku Manga, Volume 1 (オトメの帝国) Guest Review by Mariko S

April 27th, 2016

OnTV1It’s a happy day here at Okazu!! We have a new Guest Reviewer, Mariko S who has bravely decided to wade back into a series I panned back in 2008. Buckle in and get ready for a completely different perspective. Take it away, Mariko!

Welcome back to Otome no Teikoku, Volume 1, a world that, on first glance, you may find difficult to love. I had similar feelings to the ones Erica expressed in her original review when I first read this manga. However, because I was a big fan of the art style and realistic sexiness of author Kishi Torajiro’s MAKA-MAKA books, unlike her I persevered through the subsequent volumes. And, as it improved more and more and I started to really look forward to reading it, I thought, it’s really worth Yuri fans taking a second look at it. Erica invited me to do guest reviews for the series, so here we are. Let’s restart at the start, so we can understand later how things are changing.

The opening frame of the first chapter seems to announce a particular intention – an upward shot of a high school girl in uniform with hershirt hiked up, bra undone, breasts peeking out, and a skirt so short that it doesn’t touch the chair she’s sitting on. It seems to warn away anyone who’s not here for pure titillation. Given that the author’s previous works featured adult content it’s a forgivable assumption. But those works were not just mindless porn – they hadwell-developed, attractive but believable characters in relatable situations. So please bear with the growing pains here as we work
through the challenges of an adult author fumbling with what exactly
he wants this series to be.

As for what OnT is *now,* though, warm up your eye-rolling muscles. The first volume does feature a ton of service of every flavor – most every chapter has some assortment of panty shots, nip slips, groping, or nudity. Maybe it was demanded by the publisher, maybe Kishi-sensei felt like he needed to grab readers’ attention some way while the characters’ personalities weren’t developed yet. In some ways it is a little refreshing to have a series where things are a little more physical, rather than your standard akogare blushing, longing looks, and perhaps a chaste kiss at the end of it all. Humans are sexual
beings and sexy things are entertaining. It’s just that here, to start, all of the “sexy” stuff is either purely voyeuristic or too over the top, removing any sense of a moment between the characters.

Each chapter is composed of a number of vignettes. In this volume they tend to be very short, with 3-5 per chapter, but later there will usually only be 1 or 2. Each vignette focuses on a pair or small group of the girls. One of the things I find refreshing is that despite going to the same school, not all of the characters know each other or hang out together – they each have girls they are usually with, as well as some they interact with occasionally and others not at all. For now, let’s only talk about one of the pairings, Chie and Ai, which is the earliest example of character progress. We first meet them in chapter 2, through a ridiculous setup where Chie is thinking weirdly nasty thoughts about what Ai’s nipples look like, until she gets a downblouse glimpse of the real thing. The characters here have none of their eventual personalities – Chie will be rewritten entirely to be a sweet, friendly, self-conscious girl. The next times we see them, in chapters 3 and 4, they’re just doing servicey stuff – nothing to do with who they are. In chapter 7 though, we see some changes. It’s still “boob stuff,” but mixed in there Chie shares some honest feelings about why she behaves the way she does and the way others treat her body, along with the beginnings of a confession. Finally, chapter 11 continues the positive trend and is mostly about Chie giving Ai a Takarazuka hairstyle and roleplaying a dramatic moment with her that turns a little heart-pounding… until Kishi-sensei’s early favorite ending, the comical interruption, intervenes. Take heart that the other stories will similarly improve!

One of the really positive things to say even at the start – Kishi-sensei is a very talented artist. He draws details others wouldn’t think of, and with a  distinctive, more realistic style.

Another early positive is that some genuinely funny things happen. As eye-rolling as much of the copiously unrealistic service is, you can see the hints of things to come in the comical and cute parts sprinkled in between the pervy stuff.

Finally, I would say, the off-kilter creativity of the vignettes is a real strength. Rather than your standard schoolgirl setups of commuting, club activities, school festivals, and eating snacks, Kishi-sensei sets up a lot of casual, everyday situations and conversations that only improve as the ecchi elements get dialed down. Eventually his talent for expressing more subtle eroticism will really start coming out of these unique setups.

I am not quite as down as Erica was on the way sexuality is depicted here. I’m not sure it really is the default assumption that these girls are bi, (or gay or straight for that matter). It’s not as evident in the first volume, but as the series goes on the relationships of the pairs will take on many different shadings, not all of them sexual, and not all the characters have a pair. Granted, since this is after all an all-girls-school Yuri story, there’s a disproportionate skew toward “likes/loves girls in some way.” While this is a frustrating trope of every all-girls-school Yuri series, I feel it’s not so problematic here due to the vignette nature of the chapters. By not having an overarching narrative or insisting that all the characters interact, and cutting between a large number of characters, it’s easier to appreciate the separate dynamics of each pair. The way sexual orientation is used here is not all that muchdifferent from other all-Yuri-all-the-time schools in things like
Strawberry Panic and Sakura Trick, at least in concept. It’s the execution that is failing right now, missing or mistaking characterization for too much unrealistically exhibitionist goofing around.

Ratings: (leaving these from Erica’s review, as I basically agree for this volume.)

Art – 7
Story – 3
Characters – 3
Yuri – 2
Service – 4 million

Overall – 3

E here: Well thank you Mariko for balanced second look at Otome No Teikoku! I know I’m looking forward to your discussions of the later volumes.





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!