Archive for the Series Category


20th anniversary Revolutionary Girl Utena Manga: Beautiful Thorns (少女革命ウテナ20年記念日新作)

March 18th, 2018

Image Restored/Edited by abbysayswords for The Empty Movement, 2018.

In my review of the first chapter of the 20th anniversary Revolutionary Girl Utena manga, we discussed Touga and Saionji and how they regained some memory of Anthy and Utena after 20 years had passed.

Today, before I begin discussing the 2nd chapter of the 20th anniversary Revolutionary Girl Utena manga by Saitou Chiho and Be-Papas,  which ran in the March 2018 issue of Flowers magazine, I ask you to take a moment to think back on high school. For most of my readers, that will be long enough ago for memories to have begun to fade. Think back 20 years ago. Who were you then? What did you want? I remember little of high school and even less of myself in my early 30s. It’s a long time ago.

Arisugawa Jyuri (we have an official transliteration of her name at last) also remembers little of the past. On the eve of a photo shoot, she dreams of drowning.

Jyuri is an accomplished famous fencer. In her mid-30s, there’s no reason to assume her skill is any less now than it had been. In the final match for the World Title, her opponent appears….it’s a man, who wears a rose ring! They fight, but the electrical system shorts out due to a lightning strike and the match will have to be postponed. She wonders who that man was and Miki, who had attended the match to cheer Jyuri on, comments, confused, “What are you talking about? Your opponents were all women.”

As we might have expected, beautiful, long-limbed and graceful, Jyuri is also a professional model. And, as we watch, our eyebrows crawling ever higher, she does a photoshoot…is that fucking Ohtori?! Yes, it is Ohtori, and she stands in the greenhouse, or sprawls across the chairs with signs that literally point to the waiting room, while our skin crawls. 

Jyuri is also with Shiori. I have a lot of conflicted feelings about this. I hate series that act like the only possible pairing is among the characters in the story. But bear with me here, because it’ll get even more conflicted. Shiori is Jyuri’s agent and manager. She rejects a costume that shows too much cleavage. “We have to protect Jyuri’s image as a dashing fencer.” Which leads Jyuri to talk about something on her mind – she’s thinking of leaving fencing. Shiori says, well I have to tell you something, too. And standing there is the man who Jyuri fought in the fencing match! Wearing a Rose Seal ring. And, as the Jyuri watches, he poaches her manager. Shiori leaves Jyuri, on the arms of Ruka. Jyuri breaks down crying that she needs Shiori.

We see Jyuri in those days before she took up the uniform of the Student Council. Just another female Ohtori student, as she sees a little Shiori, looking like a princess. A princess, she reasons, needs a prince. So, when Shiori arrives at Ohtori and comments she finds the fencers admirable, Jyuri took up fencing and managed to obtain Shiori’s admiration. She would be this princess’s prince. One day, Ruka find Jyuri on her hands and knees, desperately searching for her locket in a field where she thought she dropped it.  Ruka and Jyuri fight. She is unable to defeat him in this informal bout, but he gives her the locket she has been missing….he knows. He knows what she is.

Ruka and Jyuri face off again. This time he brings them to the dueling ground where Shiori is the Rose Bride. Pushed to her limits, Jyuri has a vision of a young woman, (we recognize Utena,) who floats down from the castle and gives her the “Power to Revolutionize the World.” 

Jyuri sees Shiori sitting by the river, slipping in, and jumps in to save her. She is drowning….she is being left to drown…she is being drowned. We know this scene. We recognize that bench. We can hear the music. We know it and we know that it never happened to Jyuri. 

Young Jyuri wakes in a hospital, where Shiori tells her Ruka died saving her. Jyuri wanders down a hallway and finds herself in a chapel, where child Utena sleeps in a coffin full of roses. The child calls her a goddess of battle and Jyuri remembers that Ruka had called her his “Goddess of Battle, Lily.” The child begins to walk away, Jyuri asks, “where are you going?” The girls replies, “I want to see that girl again.”

Back in the present, Juri finishes the fencing match and fingers the locket, still around her neck. Her opponent removes their mask and it is indeed not Ruka whom she fought, but a woman, (who looks rather put out.)

In the locker room after receiving the championship cup, Jyuri tells Shiori that she’s done. Shiori begins to cry – are you really not going to fence anymore? “No,” Jyuri says, I’m not going to fight for you anymore. I’ve been fighting to be your prince, to protect you.” She accepts that she really just loves fighting and will do it now for herself. 

Shiori seems to understand. She tells Jyuri that she had had a dream of Ruka walking away from her, with a smile telling her that Jyuri has found the thing she was looking for.

Jyuri opens up the locket and we see that it still contains that old picture of Shiori. Carved by hand into the metal of the inside cover it says “Fight Jyuri!” in English. 

The last page shows Ruka and Jyuri walking away from one another. The page says 「戦え樹璃」with furigana that reads “Fight Jyuri”.

Phew. 

So many feels. But what actually happened?

Jyuri experienced three things in this chapter that never actually happened to her. We know that. She did not fight Ruka in the championship bout, she did not see Shiori drown, and…Shiori did not leave her for Ruka. Not 20 years ago. Not now.

It calls into question everything we know about her. What if Shiori never did any of the things we thought she did? The Black Rose arc was clearly feeding off of participants’ dark fantasies. What if Shiori wasn’t ever a master manipulator and was – and always has been – Jyuri’s closest friend who wants what was best for her? We may never truly know. 

As I have been saying repeatedly, Saitou-sensei’s art has really grown in 20 years. The aesthetic here is even more gorgeous than we remember it. And I’d be okay with an artbook of Jyuri playing dressup. ^_^

Ratings:

Art – 9 Gorgeous
Story – 9 I’m re-reading every word trying to pull out more meaning. Sometimes doing that is ridiculous, but here, it’s always worth the effort.
Characters – 9
Yuri – 4 I don’t know if Shiori and Jyuri are a couple, but they are certainly a partnership
Service – 5 – Jyuri playing dressup as a swordswoman and a lesbian. ^_^

Overall – 9

I am 100% in favor of Jyuri finding herself at the end of this chapter. I am 100% in favor of Utena looking for Anthy. 

The next chapter will have to be Miki. 

Tune back in two months from now when the next chapter is released in the May issue of Flowers magazine!

 

 





Live-Action: Sailor Moon Musical – Le Mouvement Final on Screen

March 11th, 2018

Sailor Moon Musical – Le Mouvement Final, at a theater near you. That’s something worth getting up and going out for. And so, we did. In a small, adorable, old theater, in a town in my state I had never before visited, I found myself joining about 100 fans for the screening of the final Sailor Moon Musical. 

My relationship with Japanese live-action stage adaptations of anime is complicated. On the one hand, I sort of enjoy them (except for Blood-C The Last Mind – which is on Amazon Prime – and STILL didn’t end! /mumbled cursing/) and I sort of find them excruciating and ridiculous…and boring when the pacing is poor. Because the musicals have naturally grown up in the shadow of the engekidan, the female musical revue troupes like Takarazuka, they have a lot of tropes built in, many of which are hard-coded, like a tendency to be extremely heteronormative. As a result of all this, they can be wonderful and annoying or just plain dreadful. ^_^

Complicating things for this particular musical is a simple fact. I don’t much like Sailor Moon Stars. In the anime, Seiya’s a dick, Yaten is an asshole and Taiki’s a jerk. I don’t find them sympathetic at all. And the end of the story in every version is a train wreck. Takeuchi-sensei had no idea how to end it. So, with all this in mind, I arrived at a small town theater-with-a-marquee all ready to be vaguely irritated. ^_^; 

I enjoyed it very much. It wasn’t excruciating, as such things go, the pacing was surprisingly good for doing an entire season of anime in two and half hours AND they managed to make the Starlights much more sympathetic than I’d ever seen.

In fact, I’d go so far as to say, I actually liked Harukawa Meiku’s Seiya. If they had done this story in the anime, my relationship with Stars would be completely different. 

Of course the Senshi are delightful. Funny bits were funny, not cringe-y, although in several places I noticed the audience I was in laughed at different times than the live audience on the tape. Yamato Yuga in a tux is never a bad thing. Isuzu Coco as Galaxia was fantastic, with excellent “crazy eyes”. The Animamates did a very decent job with their roles – and the costumes were fantastic. It cannot be easy to render 2-D drawings in 3-D with real people. 

Staging was pretty good, and one of my favorite things about the musicals has always been the lighting effects which stand in for all special effects. They were a lot of fun, especially during battle scenes. (As an aside, it dawned on me that anyone who can make cosplay items that have their own Foley will be a millionaire. Capes that go “whoosh” and sleeves that go “pow!” when you punch would be brilliant.) Okubo Satomi, the woman who first played Sailor Moon in this series of musicals, returning as Sailor Cosmos was a really nice touch. We all enjoyed seeing the costume come to life. Kakyuu-hime had a lovely voice, but didn’t have staying power, so the end bits were a little painful. And Natsu Chise as Chibi-chibi was, dare I say it? Cute. She was cute.

But for me, the question was simple – would this be as Yuri as the anime? The answer was…good heavens, yes. I mean like crazy yes.

Haruka and Michiru are touchy-feely throughout the story. Forget dying together, they are all arms around shoulders and stroking cheeks. Haruka explaining her dislike for the Starlights became amusing when – among all other suspicions – Taiki had insulted Michiru’s lipstick color. Michiru got to use the line “Haruka doesn’t like popular guys” and also the “I’ll make it up to you later…in private” line, which made the anime worth watching. That scene was hot enough that the other Senshi all fan themselves and say “hot!” which the translators decided reasonably on as “Get a room.” ^_^ Shiotsuki Syu and Fujioka Sayaka do a great job of presenting a long-term relationship, with multiple affirmations of “as long as I’m with you…” often enough that it was deeply satisfying. Thank you writers of this musical, and Takeuchi-sensei for that. The world – well us, anyway – is more than ready for a Haruka and Michiru who are physically affectionate on stage. 

For the Usagi x Mamoru fans, there was plenty of love-dovey between them, including a wedding scene at the end. That scene, which included all the Senshi in wedding dresses (“Why?” Usagi asks. “Because we wanted to!” replies Minako. “They’re pretty!”) and a dream sequence, were strongly reminiscent of two recognizable images from the artbooks. 

 

 

Not the same dresses, at all, but we immediately went there in our minds, at least.

There were a few significant changes from the original story that I thought were notable. In this version, the Outers do not take the position that the Starlights are an enemy, but actually want to work together. That’s a major change – and a positive one, because I really hated that we re-played the “we can’t work together” thing from Sailor Moon S. Setsuna and Haruka instantly grok that the Starlights are Senshi when they touch Seiya in separate scenes. Haruka also notes that they are women passing as men, which is true to the manga and was Takeuchi-sensei’s original intent. (It doesn’t negate the validity of this story as a trans narrative, in any way. However we interpret the characters is valid.) I liked that the story was shifted from “They need our help, but are strangers, so we’ll fight them” to “We’re all Senshi, let’s help them” and Usagi only had to argue that the Animamates were also Senshi, we shouldn’t fight them, either. It’s a much-needed expression of maturity on all of the Senshi’s parts. I assume Takeuchi-sensei has been thinking about this for 20 years, so I’m very glad this was her decision.

The ending of the story was still a trainwreck, but at least it was a completely different trainwreck than ever before. So that was a thing.

There was a short “revue” portion, while Yamato Yuga showed off a number of different tuxedos and the ensemble sang “Koi Suru Starlight,” “Moonlight Densetsu” (I looked around to see if anyone else in the theater was singing, but only the two of us were) and ended on “Ai no Starshine.”

When the movie was over, I stood at the door to ask if people enjoyed the movie, and who their favorite Senshi were. Everyone enjoyed it, and the most popular Senshi in this crowd was Sailor Moon herself. 

We chatted with Allie and her boyfriend who had never seen a Sera Myu before. Allie explained how life-changing Sailor Moon had been for her when she saw it as a kid. Of course we understood. I asked the gathered crowd how many people had been fans forever and most hands went up. ^_^ 

Someone cleverly thought to grab a picture of those of us hanging out in the lobby!

It was a wonderful show and we had an absolute blast. 

Ratings: 

Overall – 9

OH, AND the theater was showing three young-people-, people of color- and LGBTQ-friendly movies: Black Panther, Wrinkle in Time and Sailor Moon Musical that afternoon. The place was full of young people and it was absolutely delightful.





Maria-sama ga Miteru 4th Season Fandisk (マリア様がみてる 4thシーズン ファンディスク )

March 5th, 2018

I am currently in the middle of doing quite possibly the most dreadful thing any human has to do – going through a dead person’s stuff. You may remember that our dear friend Bruce P. passed away quite suddenly last autumn just before we were supposed to go to Japan with him. As a result, this last trip was bittersweet. We came back home and cannibalized his collection for anime-related items to find new homes for. Which is exactly why I’m working on another set of Lucky Boxes for the end of this month. We have tons of anime and manga, artbooks, Drama CDs, videos and paper goods of all kinds from Bruce, a metric ton of books and doujinshi (I spent three hours weeding my collection down to *only* 8 cartons) from mine AND I’ll be picking new things up in Japan again in a few weeks at the various Yuribu in Tokyo and at the Yuriten Yuri Fair for you. So expect more Lucky Boxes crammed full of massive amounts of stuff and expect a bunch of fun items from Japan in them. 

In the meantime, I’m finding things in Bruce’s collection that I did not ever have a chance to see.  In honor of my friend, I am reading and watching all these things, so I have a memory of him through the item. In today’s case it was the Maria-sama ga Miteru 4th Season Fandisk (マリア様がみてる 4thシーズン ファンディスク ), which he picked up, undoubtedly, in remembrance of his visit to the Maria-sama ga Miteru New Year’s Eve Event in 2009.

The fandisk consists of two disks, one a CD of “Kumori no Glass no Mukou,” the 4th season end theme, written by Oyuki Konno and performed by Kaori Hikita.  The second disk includes a track or two of Kana Ueda and Kugamiya Rie,, the voice actresses for Yumi and Touko, respectively, talking to us from an uncomfortable-looking sofa. This is followed by an extended video clip/anime music video of “Kumori no Glass no Mukou,” with all of Yumi and Touko’s soeur arc covered from the beginning of the season to the end. 

The final track is a series of extended previews of every single episode of the 4th season, many of which – to my horror – I did not remember. I remember individual episodes, and I remember having read the books, but there are whole episodes I cannot recall. 

Ratings:

Overall – 8 I still love this series so much.

I’m appalled at my miso-brain and have instantly declared that I will rewatch the 4th season starting tonight.

Keep your eyes out for a whole new chance to get a ridiculous amount of stuff in Lucky Boxes! It all needs a good home.





Yuri Manga: Bloom Into You, Volume 4 (English)

February 27th, 2018

In Bloom Into You, Volume 4, as the Student Council goes into a stay-over training camp in order to work on their play for the school festival, the principal characters encounter issues they’ve brought with them from their past into their present. 

Sayaka is forced to deal with a memory being pissed all over by her first lover. The sempai, in attempting to absolve Sayaka of any blame for their gay relationship, forces her to use Touko to make a point about being gay anyway. Touko doesn’t mind, but the whole thing is awkward and uncomfortable. Sayaka’s then brought into close quarters with the girl she desires, but cannot have. She cannot not see Touko’s interactions with Yuu, she cannot not know what they mean. She has no course at all but to be stoic, which is in unfair step down from just having an unrequited fantasy. I am still primarily reading this series for Sayaka and really want to see her happy by the end of it.

Yuu learns from a friend and teammate from middle school that her current state of dissatisfaction at being overworked with Student Council stuff marks a pretty major shift from her previous lack of engagement with pretty much everything. I read too much manga, I know, but my mind went directly to another MediaWorks manga that used pathological lack of engagement as a plot complication, Kashimashi Girl Meets Girl. Is this a key development moment for Yuu, or just a thing that is told to us to explain her ambivalence? Unfortunately for readers, we cannot be sure if anything we’re presented has weight of meaning. It could easily be a handwave.

We can be sure that something came to some kind of head when we all see Touko get extraordinarily emotional as they rehearse the play. Kanou-san just got way too close to the truth (as Yuu notes privately,) with her script. Touko is competing with the ideal of a dead older sister  who turns out to have actually been a bit of a jerk. She learns her sister used the people around her and is then told, quite incorrectly, that she’s nothing like Mio. But we readers can see that she is much more like her sister than anyone knows.

If the book took a direction that made me happy, Touko would confront her own behavior in regards to Yuu and change. Yuu would be then given a chance to decide if she wanted to be with this Touko. And Sayaka would meet a nice girl. But realistically, I’m just waiting for the magic handwave that will make Yuu decide she loves Touko and they’ll get married on a rainbow-bathed chapel in the sky. Oh, sorry, switched to Kashimashi again. 

Seven Seas has given us an excellent, authentic manga reading experience with this volume, so we can relax and be perplexed by the story. ^_^

Ratings: (quote directly from the review of the JP volume)

Art – 8
Story – 5 This issue has issues
Characters – 8 
Yuri – 7
Service – 4 Bathing scenes with three girls, two of whom are lesbian.

Overall – 8….

I really want to like this series. I just still don’t know if I do. Huh, just like Yuu feels about Touko. How ironic. ^_^

Volume 5 in English hits shelves in June 2018.  Thanks very much to Seven Seas for a review copy, but I had already gotten it for myself. ^_^





Sailor Moon Classic Concert Album with the Tokyo Philharmonic Orchestra (東京フィルハーモニー交響楽団 の 美少女戦士セーラームーン 25周年記念Classic Concert ALBUM )

February 20th, 2018

To quote my wife, “The FEELS.”

Oh my goodness, the feels.

You may remember that last autumn we encountered the flyers for this concert and, although we couldn’t go to the concert itself, we picked up a pile of the fliers at the Sailor Moon shop because they were so cool. 

We finally had a chance to listen to the Sailor Moon Classic Concert Album with the Tokyo Philharmonic Orchestra (東京フィルハーモニー交響楽団 の 美少女戦士セーラームーン 25周年記念Classic Concert ALBUM ). It’s pretty darn great. ^_^

The concert included anime opening, eyecatch and transformation music, accompanied by the voice of Sailor Moon herself, Mitsuishi Kotono-san. The Tokyo Philharmonic covered the openings and closing from all 5 seasons with the exception of “Kaze mo, Sora mo” from the fifth season. They did an extended remix of Sailors Uranus and Neptune’s themes, and “Eternal Eternity” from Sailor Moon Crystal as well as the Sailor Moon Crystal opening and two of the endings. They even did “Ai no Starshine” from the new Sailor Moon Musicals.

Two of the songs got vocals, “Rashiku Ikimassho” (La la Never Give Up, Gambaru ha!”) and the “Sailor Star Song” (Makenai! Ashitae Sailor Eeru, Zettai! Mitsukeruyo! Sailor Star, Tenshinohanede Tobitatsuno~!)

All in all it was a wonderful look at 25 years of the series and for us, it was a lot of fun to listen to fully orchestrated adaptations of very typical 1990s anime music. ^_^

Ratings:

Overall – 10 and a lot of big grins.

If you’re a fan, I recommend this album with all my recommends. It comes packaged with many feels. ^_^