Innocent Rouge

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Got to be real I am extremely disappointed. I really enjoyed Innocent despite its many flaws. The plot was disconnected, the pacing was pretty bad in some places, the sex/hallucination scenes were a bit overdrawn, and the time skips were too many. Still, the story was divided in mimi arcs which were really well done and even if the time skips fucked the pacing up, the arcs carried over the development of the characters while still being self contained. This is where Innocent Rouge makes a decision that turns a potentially amazing story into a really mediocre one. Even when the characters still hold up ... (at least as far as I read), what happens to them isn't even a plot or a story. Random events (which barely develop the characters) just happen at them. Sure, some of them can be related to the current status of their world but we don't see how it affects it because of the time skips and multiple perspectives. Also the sex scenes go way too far. I know why they are there but the author shows as much as posible all of the time for virtually no reason. Obviously the art is still amazing but when the main character of your manga forgets the abuse she suffered under her brother just because you want them to team up and execute a character then you might need to re-read your previous work.

“La mort est le commencement de l'immortalité” – Maximilien de Robespierre


Death is the beginning of immortality – the immortality where everyone is even. And since only in the face of death we all are equal, the grim reaper will be the one to set us free from the inequity and prejudice called “life”.

Ignorance, greed and debauchery of aristocrats flourish, while poor folk keep on being humiliated, starved and treated like dogs. Fires of the French Revolution blaze brighter and brighter, painting the horizon of a new day with red, white and blue. Like fireworks on the Versailles balls – they plunge high into the sky ... ready to explode with extreme crimson sparkles and change the world once and for all.

Sansons’ justice continues to roll through the masses of Paris like a shaft, obediently implementing the kings’ will and executing every public enemy with steady hand and coldblooded face Charles-Henri’s passionately trying to archive his lifetimes’ purpose – make the convicts’ last road as painless and swift as possible.

Innocent: Rouge – the continuation of Sakamoto Shinichi’s saga Innocent opens a new arc with younger sister of Charles – Marie-Joseph Sanson as a main protagonist. Monumental, egocentric and fearless feminist character who’s been seeking revenge on the murderer of her beloved Alain finally gets a leading role and draws eyes of the audience to her gory persona. The dam holding Seine is about to collapse flooding France with sea full of blood of innocents and martyrs of the upcoming storm, a storm that can not be weathered aside. Theatre-like manga style continues to astonish with its grandiosely contrasting scenes of heavenly beautiful and hellishly brutal Paris in the monarchic days of late XVIII century. Ominous gothic-baroque atmosphere interlaced with torturous slavish spirit of that period create unique story penetrating mind and soul with its magnificent plot development, brave, provocative and revolutionary ideas, characters’ heroic deeds and unexpected Deus Ex Machina effect making a whirlpool of events swing even faster pulling in everyone and everything in its path.

The heat of the plot grows as we come closer and closer to the edge of the events that fundamentally changed the worlds’ order. Like the opera culmination – the fastening pace of the orchestra peaks the tension leading you to the climax of joy and pleasure, and Sakamoto Shinichi, as a kapellmeister, runs the show. Such detailed and accurate vision of each aspect of life of prerevolutionary France: the architecture, the fashion, manner of speech and attitude, morality and ideals, religious views, the politics, the social structure, lifestyle and general spirit of nation – everything is in accordance with famous history books like Thomas Carlyle’s “The French Revolution: A History”(1837), Victor Hugo’s “Les Misérables” (1862). Sakamoto Shinichi himself, however, claims that he mostly referred to the Adachi Masakatsu’s book “The Executioner Sanson” (2003) as basis for his heroes’ portraying and their individualities’ development. And though the creator makes some changes and additions to the characters’ personalities and historical events, for example, altering the appearances of famous personas like Marie-Antoinette, Louis XVI, Robespierre, Charles-Henri Sanson by mixing their “nowadays type” hairdos, grotesque, even “circus alike” makeup style, still saving the key features of the post Renaissance period like dresses or jewelries (especially characters like Rose, Sabiss), making their plump bodies fit and faces thin, unlike on the portraits (same Marie-Antoinette), ejecting some key personalities like Iosif II – the king of Germany, the emperor of the Holy Roman Empire and brother of Marie-Antoinette, whose influence has pushed Louis XVI to having a phimosis surgery, or creating new, non existing, like Marie Sanson; adding an attempt of murder of Louis XVI to the “list of accomplishments” of famous gang “Les Enragés”(The Enraged Ones) and changing date of their first known activity from 1792-nd, to 1779-th, a decade before the revolution, or presenting Charles-Henri as an almighty superhuman with underworld powers who could’ve carried out all executions by himself, when historically up to 6 men helped him, until the guillotine was invented – all this only underlines the authors’ flexibility, persistence and efforts of trying to bring to the reader splendid and flawless novel the world has never seen before.

The writing is a pure existentialist emotion, historic ambition and sensual romanticism immersed in the black chocolate of creationism sprinkled with gothic gloom and modern impulsive sex scenes. Massive, tremendous and naked, the plot just can not get bigger than this one. Great people with great ideas on the most spectacular stage of the world, Paris, are trying to create a new bright future crawling out of darkness and void of Medievality. Versatile characters – dozens of well-known historic figures of the second half of the 18th century with less known ones, and new, created by the author, they swing in the majestic Waltz desperately trying to reach their own goals, whether its power, money and glory, love, revenge, or chaos, revolution and war, each hero dances his variation imposing tempo to others. Special attention deserves the main character and the puppeteer of this circus, endeavoring to carry out her vision of the future and, especially, the role of women in it, she’s willing to go against everyone. So unattainable, so alienated her mentality is, no wander the representatives of her profession become subjects of worshiping and ritual estrangement for ordinary people.

Epithetical metonymy, metaphorical comparisons, allegorical antithesis, sarcastic irony weaved in naturalistic, expressive, sometimes even barbaric context – the saga is full of such artistic techniques, scenes and more. Just think on these situations: prepared to cut off the head of the condemned, the executioner stands knee-deep in the blood with the sword raised high above his head – like a reaper, he is an empty soulless skeleton with no sympathy, no prayers or begging are going to help you as he’ll hand you over straight into death’s hands, or, he is a musician, whose blade is his violin, scaffold – his podium, crowd – his choir with the sharply rising buzz of which the violinist goes with the lead improvisation of “Jesus bleibet meine Freude” (Bach) and the last screams of the sentenced echo through the hall up to heavens where angels are already coming down for his martyred soul; mating process depicted as the fly (male) slowly and with caution approaches to a wonderful flower (female) charmed by her beauty and smell, hoping to consume the sweet nectar, instead to be the one consumed, as the flower turns out to be a flytrap (Drosera), a prison of lust, from which you can’t nor want to escape, or, just like taming of a wild horse – sex is natural, tempting, explosive, makes you exchange roles and be the conqueror and the conquered, dominant and submissive, hunter and prey. Such epithets and metaphors are everywhere, but you just can’t get enough of them and impatiently waiting for another one to occur – so gorgeously and melodiously they resonate through your subconscious. BRAVISSIMO!!!

Homo-lesbian kissing, lesbian sex, exhibitionism, bdsm, group rape, copulation with a smallpox person – all your dirty perverted expectations will be satisfied still keeping the sensual and romantic traits of that epoch. The author manifests an excellent knowledge of anatomy as main characters besides being official executioners have also been practicing medicine for generations by treating fewer, chill, scurvy, conducting complex operations like cesarean section or amputation of a body part and, digging in the corpses of their “ex-clients”. Sometimes the writer even makes historical references regarding some particulars of those times’ medical operations or less known facts about Medieval torture mechanisms (Spanish boot, Catherine wheel). Dismal spirit of Innocent is much alike to Claymore, Berserk and Attack on Titan series with a slight scent of French restrained charm, and though Innocent doesn’t have that much of massacre scenes as higher mentioned series do, it doesn’t weaken your impression about manga, vice versa, gore is dosed and is injected at the right time to underline whole improbability and rapture of the moment. You will see no “sound imitation” inscriptions that are expected to be in a novel with lots of smashed arms, broken legs and chopped off heads. Creator makes things work without unnecessary text and lets your own imagination create sounds directly in your brain.

It is understandable why Sakamoto Shinichi is in love with France so much. The Burbons’ dynasty fashion taste can’t be compared to anything before or after their reign, and, naturally, they dictated the vogue to the rest of the world. Amount of country’s budget spent on luxurious palaces, gardens, costumes, jewels, servants is beyond imagination of richest businessmen of our time. The debt of France in 1789th carried out around 12 billion livres, revolution was as inevitable as the fact that day comes after night, but the Burbons knew how to party as if “tomorrow never comes”.

Inspired with Innocent saga, a week after reading which, I went on a trip to Paris to witness all that greatness with my own eyes and to verify if the mangas’ arts where authentic. INNOCENT REALY IS THAT GOOD! The art style is something absolutely out of this universe and is about to create its own. Every single minim is being conveyed with absolute accuracy and passion: the Renaissance Revival style and every statues’ detail on of the city hall – Hôtel de Ville (Hotel de Ville), the French Baroque architecture style and the screaming grandeur of the exterior of the king’s residence – Château de Versailles (The Versailles Palace), each trifle of facade of Gothic, Neo Renaissance or Neoclassicism style constructions on the mangas’ frames background, and tiniest components of design of the Rococo movement dresses and interior decor. The arts’ incomparability doesn’t stop on architecture, the character design also deserves to be spoken about. Damn, heroes deserve even more than just mentioning, their guises appear to be more detailed and more worked out than the looks of real people you daily see. Starting with every flexion, contour, shade and pattern on their clothing and ending with individual lenses, lip gloss, eyelashes and eyebrows – the very definition of word “unique” increases hundredfold as every frame can be presented as the symbol of excellence and perfection. Innocent saga has no flaws in its art style, no flaws at all… and in this uniqueness, the artist reveals the true beauty of life and death in full-color palette. Combining so many aspects with such delicacy and care – you’ll find no analog to this masterpiece. No wander that Innocent was presented in Fukuoka Asian Art Museum on the days of Japanese art style exposure dedicated to French thematics ("Louvre No.9 – Manga, the 9th Art") organized by the Louvre Museum.

Nothing to add, nothing to take – its own magnitude can only be compared to its flawlessness. Innocent: Rouge – rightful follower, proudly and with high raised head carries on everything we loved the prequel for in a new crimson light of an upcoming revolution. Astonishing and noble, it will forever shine above all like Polaris in the night sky, and Sakamoto Shinichi, like a god, will always be unreachable for mere humans.

“… only doors stained with rouge, stained with blood, will beckon a dawn to a yet-unseen future.”


VIVE LA REVOLUTION, VIVE LA FRANCE!!!

Just finishing. For god's sake, this manga is f*cking good. One of the best thing I've read in my life. Thanks for the great adventure, Sakamoto-sensei.
Overall: 10 :))

I think everybody should read this manga, not only because it's about huge historical events, but also because talks about human nature. A brutal way to reflect that "All the talk about Revolution is nothing but a pack of lies". Your miserable life is not going to change into a heaven just after a "Revolution". It takes hundreds of years to achieve the goal of that revolution.

My fav quote:
"The blood of the king will pour down on this ... corrupt land of France. And before long, we will make a new era sprout from it. That is our dream! What form will that era take? I do not know, but I can say this much for certain... The towns will be full of food, the stomachs of the children will always be full, people will go to school with smiles on their faces, and lovers will speak of love without regard to social class. Man will be able to choose their occupations regardless of birth and protect their families..."
"Sounds sucky."
"Wha...?!"
"Are men the only ones in the future you're imagining? So ya eat till yer bloated, fuck whatever woman you wanna fuck, and get whatever job ya want, sounds like a pretty sweet world ta live if you're a man. The future Marie sees is one where no matter if you're man or woman you can take the staring role!!!"

After reading Innocent i felt really happy with the work that Shinici Sakamoto handed down to us. It was a complete and cohesive work of art that was both faithful to its source material (that beeing Mémoires de Sanson) and creative enough to build an engaging plot while creating characters that were complex and realistic to the bone.
Unfortunately that changed with Rouge

Rouge focusses on the one thing i disliked from the 1st Innocent: Marie.
Now, let me explaing why.
First of all, i find Marie character just really flat and boring. Its THE MOST predictable character in the entire manga. Whenever Charles-Henri faces a new obstacle ... or a change of setting, he is influenced by it and changes accordingly to the events that take place, while still following his dream. Marie doesn't do that. She is just "me free me do what i want" to every situation she faces, and thus her actions are always predictable, like she was a caricature. Expect when she's not, and it's not even justified.
Marie joining the revolutionary forces is so out of character i feel like icouldn't understand her completly. If her character was written to always seek freedom and remove every possible bind that would affect her negatively, joining a "righteous" group that is trying to impose new rules to a society is just out of character. And that should be because she's following the dream of her dead lover? When Marie was supposed not to be tied by anything? No. Just no.

Another thing that i particularly didn't enjoy in this manga was the amount of time skips and how they were implemented into the story.
In a work of fiction that tries to be as hystorically accurate as possible, and that describes event with a straight-forwarded narrative up until this point, i can't understand why putting that much numerous timeskips and flashbacks was necessary.
Also i feel like some events were too flashed out.
The assault to the Bastille, the Diamond Necklace scandal and the figure of Napoleone felt a bit rushed. Or at least they'd have needed more time to be poured in to feel more cohesive to the narrative

Also can we talk about Marie Antoniette? She has some really good chapters that make her feel like a complex and mature character, and then she goes back to beeing a whiny immature teenager girl who really feels out of place in Versailles

That beein said, there are some things i enjoyed
The art is gorgeous, no need to say it.
Charles Henry and his relationships with his relatives is really likeable, as he's the most complex and heavly developed character in the whole manga, and seeing him from his position as the head of the family, to his 67ish years old figure is heart breaking
Marie has SOME decent moments, but they were mostly because Charles was there
Really enjoyed the Marat chapters and watching Luis spending some time with his children


The manga is definetly worth a read, don't get me wrong, But i can't bring myself to call it Amazing or Very Good, even if i deeply love some characters. The focus on the caricature Marie becomes is really burdening the manga, and some parts were really tough to read through because of characters beeing really boring and not interesing.
If it was for the art and Charles alone, this manga'd get an easy 9.
But as it is, it's just "7- Good" for me

It is truly a pity that this masterpiece of a manga has so few ratings and reviews. Yes, I consider it a masterpiece because it is rare when you encounter such a work of art like this in your life. Innocent (and this sequel, Innocent Rouge) is the strange serendipity you didn't think it could exist, because everything in it is outstanding. Just try it, you will do yourself a favor. Everything from the story to the art is truly mind-boggling; once you start, you can't put it down, because it is so easy to read, although it may need some reflections for you to ... truly understand everything the author wants to convey.

Monumental.

Definitely a bit better than it's prequel Innocent but still, just like Innocent it lacks in character writing and depth. While Marie is cool her being mostly a one dimensional, predictable character sadly makes her kind of bland. It's definitely a bit better though as it does get more entertaining towards the end, but sadly, it's towards the end not really entertaining and gripping all the way through. Like Innocent I recommend you still check it out, you might like it more than me, and the art is still masterful.

Sounding like a broken record sucks, but I hoped this would've been better... Too bad..

Honestly, as much as I loved the first part, this one was a whole ass mess until the last volume.

The biggest issue is feeling as if Sakamoto-sensei decided to appeal to a different part of audience whilst the manga progressed.

The so well developed symbolism and (despite of the plot) visible delicacy regarding some topics in the previous part, now got reduced to references of modern times and infantile, over-exaggerated p*rnography.
Instead of keeping the visualization on the same level, to fit those mentioned topics - going forward the chapters were just a bunch of naked women, as if there was a race how many ... naked chests we can put in there, without reason and clue.

By the end the manga started going back on its tracks, unfortunately to fall again during the very ending alone.

Still, I decided to score it positively despite the afore mentioned parts.
The reason partly being the big improvement of the plot. It was much more coherent than the first part and the uptaken topics more or less got their conclusion.

Also the story got my full attention. I was looking forward to how the characters would act, how specific things would be portrayed.
With that I could simply not bring myself to say more bad words.