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Haunted by a family curse, a man fights against the sands of time that are quickly running out for him in this supernatural mystery.

The supernatural and Miyamoto Kano are both high on my favourites list, so I was excited getting into Sleeping Moon. But while Miyamoto has previously dabbled in the supernatural with shorter stories, this is the first series where she’s made it the focus. The result is a compelling manga that invokes equal amounts of suspense and sympathy.

The story revolves around Akihiko as he returns to his father’s hometown to investigate the truth behind the curse that has afflicted his family for generations. The isolated village, the eerie house, the withdrawn twins, and the perpetual chill in the air combine to effectively create a sinister atmosphere. Add to that the ghost, deity and long-lost relative that Akihiko meets along the way, this could very easily have turned into a tragic, dark story, but strangely, it incorporates lighthearted moments within the fabric of the events and showcases the complexity of human emotion in a way only Miyamoto-Sensei can. There are genuinely scary moments and occasions when the characters’ desperation and agony really come through, but the execution prevents it from being gloomy; perhaps it’s due to the juxtaposition of the serious, matter-of-fact narration and the normal, everyday interaction and dialogue among characters.

The story builds up brilliantly and it remains gripping throughout as the puzzle unravels. I found myself constantly wondering if a person or an information is a red herring or the real thing, or if they’re even relevant at all; in other words, it’s everything a great mystery should be.

Another aspect in which this series deviates from the signature Miyamoto Kano style is that it’s a plot- rather than character-driven story. However, it’s through the realism in the characters that Miyamoto strikes a balance with the occult nature of the plot. As though to emphasise the dichotomy between modern rationality and ideas like sorcery, the protagonist is made out to be a scholar who’s up against a fuzzy, yet very real curse. For Akihiko, this results in a mishmash of disbelief, denial, helplessness, worry, and learning to deal with it through humour; so for the most part he lives life normally but with the threat of the curse constantly lurking at the back of his mind. I find this makes the characters more endearing than if they had been angsty or overly emo the entire time.

Inevitably, though, the lurking threat surfaces occasionally, rendering the characters desperate and vulnerable - circumstances that are highly conducive to romantic developments. It sounds cliché, but it actually falls together quite well. Until the somewhat rushed ending.

Miyamoto cites Poe, King and Lovecraft as some of her favourite authors. I don’t know if their works influence her, but I believe she has managed to create her own distinctive suspense style - and a good one at that. While Sleeping Moon is full of Lovecraftian elements and has King’s unputdownable factor, as well as an obvious classic Japanese horror influence, Miyamoto makes sure her quirks prevail. Besides her talent for making the supernatural seem real, she also has her very distinct art to her advantage. The leafless trees, the snow in the background and the seemingly uninhabited village certainly create a spooky atmosphere; not to mention the frightening ghost that jumps right out of the pages. I’m not sure if this was the intended effect, but I found the art creepy yet not terrifying.

Overall, Sleeping Moon is a really gripping supernatural mystery with a touch of romance, and not just in a “it’s good for a BL” kind of way, and anyone who enjoys mystery would probably find this interesting.

- Written for the Miyamoto Kano Society - read more

~ The following review contains spoilers ~

“You should go outside and try looking at the sky - it’s far away”

With these words Shinichi receives a rude awakening that spells the end of his youth. It’s when he arrives at that point in life when he realizes that no matter how hard he tries reaching for the sky, he may never be able to touch it.

Failing to achieve one’s dreams, accepting that fact, and moving on with life. This is a common everyday story, but there’s not much fiction around this subject. Possibly because it’s too close to home for so many people that it would make an uncomfortable read. Or maybe because of the notion that it’s morally wrong to discourage others from their dreams, no matter how far-fetched they seem, or that those failures shouldn’t be glorified by fictionalizing them. ‘The End of Youth', originally a light novel written by Konohara Narise with illustrations by Miyamoto Kano and later adapted into manga form by Miyamoto-sensei herself, is one of the rare works that deals with this subject.

Romance takes a back seat in this unusual BL manga. Instead, the focus is on the turmoil Shinichi faces as he struggles to fulfill his decade-long dream of becoming a famous musician. A dream for which he abandoned his friends and love. A dream that he stubbornly pursues, even while it leaves him feeling empty and wishing to die. To make matters worse, he is forced to face his past when he meets Yuu and Chikara, whom he had betrayed years before. While Yuu is more than happy to meet Shinichi, Chikara is not about to let bygones be bygones.

This blast from the past gets Shinichi into reminiscing mode, and correspondingly, the narration shifts back and forth between the present and ten years earlier when the characters were high school students. It’s a style that works well to emphasize the contrast between Shinichi’s current desolation and his happy, hopeful youth when everything seemed attainable. For Shinichi, this puts the reality of his situation into a more absolute perspective - he’s essentially a failure as a musician.

Yet he obstinately refuses to let go of that dream. Maybe it’s admirable that he’s really tenacious in chasing after his dreams, but I found it frustrating. Even more so when details about his relationship with Chikara came to light. By then, it was obvious to me that it wasn’t music he was chasing, but salvation. He seems to have some deep-seated belief that by achieving fame, he could somehow justify his cruel betrayal of Chikara.

That tenacity may be Shinichi’s biggest redeeming quality; after all, his hubris and self-serving personality makes it hard to like him. He does, however, come across as a real person trying to make it in this world - fragile and insecure, trying to remain optimistic despite feeling the weight of his futile endeavors. His flaws and his dark and sometimes ugly thoughts are reflected in his inner monologue, but there is no malice in him, which is why it’s hard to hate him for doing what he does to Chikara. While the story is about Shinichi, Chikara’s complexity makes him stand out as a character. While he’s usually self-centered, overbearing, tactless, inconsiderate and uncouth, he turns docile and clingy in front of Shinichi. In contrast to those flaws, there’s a gentle, pure, honest side to him that draws Shinichi towards him. This curious attraction gives the impression that their relationship is not one borne out of love, but rather the need to fill the void in their lives.

Miyamoto Kano’s drawing style is perfect for this story. Her gorgeous art intensifies the brooding sentiments in this manga tenfold. The editing of the images, the downcast eyes and the prevalent gray tones convey the desperate, miserable, hopeless feeling really well.

This is not the most enjoyable manga to read, honestly, and I can see why some people wouldn’t like it. The characters aren’t exactly lovable, and it’s not fun watching someone’s dream being trampled upon. It is, however, a reflection of how sometimes things just don’t work out in life. When that happens, though, the world keeps turning, and you move on. You’ll live. How you live is up to you, even if it’s not exactly the ideal life you’d imagined.

- Written for the Miyamoto Kano Society - read more

Two broken individuals, a need to escape and a serendipitous encounter.

Sounds like the plot to many romances, but add in some snow and get Miyamoto Kano to describe what happens next, and you end up with Escape – one of the most heartrending oneshots I've ever read.

Note: While there aren't any major spoilers, since Escape is a oneshot, this review covers a great deal of the manga itself.

The story begins as Jun, having led an inconsequential existence for as long as he remembers, stumbles upon Kouji, a seemingly dangerous drug-dealer. In a desperate bid to escape his miserable life, he asks to be sold some drugs. Kouji, himself too tired of leading a life of crime, reluctantly agrees. A turn of events takes the two on a road trip where revelations are had and self-discoveries are made.

This trip is essentially the defining moment of their growth as individuals. As they find solace in each other, they begin to realise life isn't too bad.

The manga itself doesn't give too much back story on characters, but there is enough information for readers to understand the motivations behind the characters' actions, like why Jun would be spurred to take drastic decisions, or why Kouji would let a clingy high-schooler tag along with him on the trip. But love doesn't radically change their view of the world; so even as the meek, forlorn Jun and inconsistent, self-loathing Kouji begin to feel more hopeful, there is no shaking their sense of regret and anxiousness.

This somewhat poignant air is complemented exquisitely by the use of snow in the backdrop, which is easily the standout element as far as the art is concerned. Not only does the snow add to the ambiance, but its fragile and beautiful nature is reflective of that moment in their lives. At the same time, their isolation is symbolised by the harsh winter – and as corny as it sounds – their hope by the spring that's just over the horizon.

What meets them over the horizon is left somewhat ambiguous and readers are left to make up their own minds about how things turn out. Ending the manga with unanswered questions could be considered both the strength and the downfall of Escape. Personally, I thought it wouldn't have left such a strong impact on me if it hadn't ended the way it did.

Regardless, the ending doesn't detract from what is essentially a touching tale of how two lives are thrown together in the midst of reality, come to love each other and learn to view the world a little differently for it.

- Written for the Miyamoto Kano Society - read more

“Sometimes I feel like we're lost children, endlessly going around in circles as we try to find our way.”

That's how Nakamura Ryou feels as he contemplates his situation at one point near the end of this heart-warming manga. Contrary to the statement, however, the story does not go around in circles, but rather flows smoothly and convincingly.

Flowers is one of those seemingly ordinary BL manga that in Miyamoto Kano's hands turns into something far from ordinary. When newcomer Ryou spots his two male housemates kissing, his past misgivings about his own sexuality begins to resurface. He finds himself getting attracted to the alluring Makoto (who wastes no time making a move on him), intrigued by the mysterious Nanno and at the same time, envious and insecure of the history between the two men. Before long, he gets entangled in their relationship.

At a glance, this may seem slightly messed up, but it never felt ridiculous or forced. Naive Ryou is understandably confused as he tries to find himself and learns about love from two vastly different persons. Nanno's distant but perceptive personality conflicts with Makoto's sweet but fickle ways. Sometimes it feels as though Ryou is just getting swept along for the ride, but he certainly grows along the way. The three of them definitely had some of the most arresting dynamics I've seen in love triangles. It was almost painful to watch the characters feeling lost as they hurt one another, even as they're in love and hurt themselves, hanging on to the idea things will work out.

Even the two minor characters are relatively well-developed for a one-volume manga. Both the painter and landlord provide comic relief as well as act as tools for the growth of the main characters. I even felt sympathetic towards the landlord for having to deal with so much drama under his roof.

Most of the story is told from Ryou's point of view, so we get free access to his mind, but not the others – who are arguably more interesting. But just like Ryou, the readers often rely on Makoto and Nanno's expressions to understand more about them; the art obliges by having plenty of close-up shots that reveal their feelings. Another thing I liked about the art is how each character looked their part: Ryou appeared inexperienced, Nanno deep and tortured, and Makoto like the irresistible man he is.

'Flower Children' is a short doujinshi that illustrates life after 'Flowers'. Knowing Miyamoto's habit of releasing related doujinshi titles years after the release of the main series, little details that seem irrelevant now may take on a whole new meaning later, like the little 'secret' that lies within the handmade paperweight Makoto presented as a gift.

Overall, Flowers is a profoundly moving manga that does an amazing job potraying the frustration people feel as they endlessly go around in circles, hoping their relationships would somehow blossom. In Flowers, this circuitous journey was definitely not pointless, and at the end of it – as trite as it sounds – each character managed to find their way, even if they have yet to arrive at their destinations.

- Written for the Miyamoto Kano Society - read more

Rules, with its realistic portrayal of homosexual relationships, deviates from the norm in that it does not come across as a yaoi fangirl's idealized view of the lovey-dovey relationship between pretty boys. It contains none of the negative clichés and stereotypes associated with the BL genre, i.e. non-existent plot, two-dimensional characters and cheesy dialogue. Like many good yaoi, though, this wonderful story was an absolute page-turner.

Part of Miyamoto Kano's highly popular Rules Universe that has spawned numerous fan fictions, the events described in this manga take place after 'Hydra' and 'Lovers and Souls', this time focusing on Hikaru and Tooru, as well as two new characters in the form of Yuki and Atori.

The story starts out typical enough: Yuki, having realized he's gay and in love with his straight classmate, sleeps with a stranger he meets in a gay district to alleviate his sexual frustration. That's where the typicality ends. What follows is an intricate, yet still grounded, depiction of how the four main characters' relationships change as their lives intertwine. The smooth flow of the story makes reading the manga akin to watching the lives of people you know unravel before your eyes.

If there is one thing that distracts the flow, it would be the somewhat abrupt shift in focus onto different characters that occurs after Volume 1. Although the shift could have been executed better, it's not a huge issue as the story remains compelling throughout.

As mentioned previously, there are no clichéd character archetypes; it's completely irrelevant who play out the seme and uke roles. Instead, with their unique personalities and development throughout the vast Rules Universe, they act like real people would. Yuki and Atori experience teenage insecurities, confusion and even carefreeness, and grow from the experience. Since they've appeared in previous titles, the development in Hikaru and Tooru's characters are even more evident; at times, how they act may seem odd or even unreasonable, but it's easy to understand why they do what they do when the Rules Universe is read in chronological order.

The art, in keeping with the storyline, looks realistic. Miyamoto adds even more realism to Rules with her little quirks, like changing the characters' hairstyles as the seasons pass or altering their expressions with the slightest stroke so that they're never exaggerated. Their appearance are also modified to correspond with their moods or to signify their growth as individuals, like how a certain character is given a haircut after a relationship he was in ended.

Several things stand out in Rules that set it apart from many other works, including how well issues such as sexual confusion and prostitution are dealt with. The sex is not superfluous, but rather a tool to further the plot and character development. Also, while such stories could very easily become an angst-fest, Rules avoids that by keeping it moderate, though it's not completely absent; after all, what teenager is completely devoid of angst? Finally, Miyamoto understands the minutiae of the Japanese gay community, and this knowledge is apparent in Rules through the use of language and lifestyle details.

While personally I don't have a problem reading yaoi with all its glorious clichés, Rules was a great change of pace. It's a wonderful manga I'd recommend to people who like character-driven stories.

- Written for the Miyamoto Kano Society - read more

“Me, Hitomi and Ryuu... We were each reaching out our hands, but in different directions, and so we kept missing each other; never quite managing to touch, never quite managing to connect.” - Taira Hikaru

This is essentially what Hydra is about – the frustration, heartache and helplessness that ensue when one's love just won't reach another's heart. But it's so much more than just a tale of the painful reality of being in love – the relatable characters and great story combine to make this a truly engaging read. In spite of how emotionally charged this manga is, it never once veers into the melodramatic territory, and this is down to Miyamoto Kano's wonderful knack for giving her works a striking edge of realism.

Hydra describes the journey of three friends as they struggle and come to terms with their growing and changing feelings for one another over several years. It begins when Ryuu transfers to Hitomi's school. Fascinated by Ryuu's full-scale dragon tattoo, Hitomi befriends Ryuu and the two immediately form a bond that's almost ineffable. In time, Hitomi begins to wonder if it's the tattoo that interests him or the one bearing it, but before a deeper relationship between them manages to transpire, Hikaru enters into their lives. His appearance is intriguing in that he's both a catalyst and a hindrance to the furthering of Hitomi and Ryuu's relationship. While such love triangles are hardly original, rarely is it ever so engaging or told so beautifully.

The characters are the life of Hydra. Well-developed and three-dimensional in a way that's rarely found in the cliché-happy BL genre, it's almost impossible not to identify with them. Without meaning to sound trite, all three characters come across as very human – they're not without their flaws, they are conflicted by their own choices, they don't always understand themselves – and they're completely relatable. The raw emotions displayed by the characters made it difficult for me to remain as a passive bystander, instead it engulfed me deeper into the story.

Those unfamiliar with Miyamoto's style may be put off by her distinctive art at first, but it's easy to get used to. It certainly illustrates the characters' feelings really well. I think one exceptional aspect of her art deserves mention, the expressive eyes that manage to convey emotion with subtlety and beauty.

The various doujinshi associated with Hydra, while not essential for understanding the series, definitely adds a lot of depth to the story and characters. We get to peer into Hitomi's mind that he doesn't quite understand himself in Blue Film First; Heavenly lets us relive an event from Hikaru's point of view; Kiss gives us a glimpse of Ryuu's past; in Hello Again, there's a juicy revelation. As such, these extras are arguably not extras at all, but rather indispensable to the series.

And while I keep emphasizing how emotional this manga is, it does have a lot of lighthearted moments and it most certainly is NOT a soap opera. There's nothing cheesy about the lines or character, and the love triangle does not resolve itself by the employment of some ridiculous deus ex machina.

Overall, Hydra is an absolutely riveting manga that's never contrived. The way each character comes to terms with his feelings is done wonderfully. Similarly, their relationships unfold and reach a resolution in a natural and believable manner. It certainly left me feeling like I'd just read something really special.

- Written for the Miyamoto Kano Society - read more