Mysterious men have knocked out Tsukushi and her on-and-off boyfriend Tsukasa. The two awake to find themselves alone on a boat, a situation that reeks of the diabolical handiwork of Tuskasa's maniacal mother Kaede. Will the two of them survive this insane twist of fate?
Yōko Kamio (神尾葉子) is a popular Japanese manga artist and writer. She is most famous for Boys Over Flowers (花より男子, Hana Yori Dango?), for which she received the Shogakukan Manga Award in 1996. Her work has been translated and distributed in Asia, Europe, and North America.
Yōko Kamio readily admits that she had no intention of becoming a professional manga artist when she was young. Kamio originally went to secretarial school, but her love of drawing soon led her astray. She then eventually entered the professional mangaka field in 1989. In the following years, Kamio published Suki Suki Daisuki, Ano Hi ni Aitai, and Meri-san no Hijitsu in Margaret before she finally created Hana Yori Dango in 1992.
The Hana Yori Dango manga became established relatively quickly in Japan. Many people commended Kamio for her realistic portrayal of high school life and everyday violence through the Hana Yori Dango series. Although Kamio was initially surprised by the confessions of high school violence stated in fan letters, she realized that Tsukushi's fiery character served as a role model for much of Japan's youth and helped others cope with school violence.
Kamio watched as the success of Hana Yori Dango's 1992 début followed through with many more months on the best-sellers list. Voice CDs by SMAP and a live action movie about Hanadan charted the series success in the mid-1990s. By 1995, an animated series for Hana Yori Dango was already in progress and Kamio had also helped pick main leads for the anime show.
Hana Yori Dango ran in the Japanese Margaret magazine as well as the Korean Wink. The series has also been published in Japanese, Chinese, Cantonese, Thai, Korean, French, and English. The anime series has been broadcasted in Japan, Hong Kong, Taiwan, Singapore, Italy, and has also been licensed and released in the United States. Additionally, it was also recreated in a Game Boy Color game (only released in Japan) during the summer of 2001. With its ever-increasing popularity, Hana Yori Dango was then made into a popular live action TV series in Taiwan titled Meteor Garden. The manga series finally ended in Margaret's August 2003 issue, and the 36th tankōbon which included the Akira special "Night of the Crescent Moon" was released in January 2004 as the manga's final volume.
While Yoko Kamio initially wanted Hanazawa Rui to be the main hero of Hana Yori Dango, due to the outstanding personality of Domyoji Tsukasa (and Domyoji also becoming more popular than Rui) she changed the hero role to Domyoji.
Despite Hana Yori Dango's success, Kamio had originally planned to end the series by Spring 2000. However, in February 2000, at a mangaka conference in Taipei, Taiwan Kamio announced that she would continue writing Hana Yori Dango. At one point, she got so wrapped up in the Hana Yori Dango storyline, that she confessed to having dreams about Doumyouji. Of course, she said that "Falling in love with a character that I created is just disgusting..."
By the time you reach Volume 31 of Hana Yori Dango, you’re not reading for the plot — you’re reading out of pure sunk-cost fallacy. Makino is still running in emotional circles like she’s on a hamster wheel greased with bad decisions, Tsukasa is still a brick wall with great hair, and the misunderstandings have reached a point where I’m convinced the entire cast has a group allergy to direct communication.
This volume is basically:
Fight.
Misunderstand.
Run away dramatically.
Someone gets hurt, physically or emotionally.
Repeat until your soul leaves your body.
It’s exhausting, melodramatic, and stretched thinner than Tsukasa’s patience. At this point, I don’t care if they end up together — I just want them to take a communication workshop and save us all the headache.
One star for the sheer endurance it takes to get through it.
This was a good volume. In terms of plot points from the kdrama I don't really remember the events of this volume being in it. It was interesting though, how Tsukushi and Tsukasa's relationship was when money was not in the picture. It was a pretty quick read and a lot happened in the book within a short period of time. I do like how the characters are growing and the relationships of the characters change. The artwork is not bad. I am enjoying the manga over all, but I think a huge part of my enjoyment comes from knowing the characters and wanting to see how it compares to the kdrama.
Pertama baca manga ini waktu umurku 10 tahunan - ikut membaca waktu kakakku sewa dari taman bacaan komik di dekat SMA-nya. Sebetulnya ini terlalu dewasa, sih, untuk anak SD haha. But anyway, dulu rasanya cukup menikmati karena karakternya goodlooking dan stylish. Alur ceritanya juga banyak yang membuat ngakak. Sekarang, umurku 30 tahun dan membaca ini cukup merasa terganggu di banyak hal: romantisasi abuse, violence, sexual harassment, institutionalized bullying, dan membangun mindset 'I can fix him' untuk remaja perempuan. Memang, sih, manga ini 'kan dibuatnya tahun 1992 - mungkin society memang belum seprogresif sekarang. Tapi jadinya menurut saya manga ini lebih cocok ditujukan untuk orang dewasa, ya, ketimbang remaja putri seperti shoujo pada umumnya. - Masuk volume 30, rasanya kok ceritanya semakin 'berat' yah secara emosional! Berat dalam artian mungkin karena setiap karakter semakin dewasa dan menyadari bahwa banyak hal yang tidak bisa dikontrol - memaksa orang untuk menyerah setiap harinya. Lalu cinta pun terus menerus menjadi sebuah ujian.
Volume #31 Tsukushi Makino (FL) kembali ke Jepang dari NYC. Dalam hari-harinya yang biasa (berjalan ke tempat kerja sambilan), Ia bertemu Tsukasa Doumyouji (ML 1) yang ternyata kembali dari NYC - memang untuk menemui Tsukushi. Hubungan mereka menjadi agak aneh karena Tsukasa di NYC sempat dingin dan menyuruh Tsukushi pulang. Namun pertemuan ini membuat Tsukasa ingin meminta maaf dan menghabiskan waktu sehari bersama Tsukushi sebelum kembali ke NYC lagi. Mereka memutuskan untuk makan bersama saja di apartemen Tsukushi, sampai ketika tiba-tiba pasukan berjas datang dan menyetrum Tsukasa dengan stuntgun sampai pingsan. Pasukan itu juga membuat Tsukushi tidak sadar. Ketika terbangun, mereka berada di sebuah kapal otomatis tanpa penumpang lain maupun nakhoda - entah ke mana. Ternyata, kapal itu membawa mereka ke sebuah pulau rahasia yang rasanya hanya ada mereka saja. Bingung harus berbuat apa, akhirnya mereka mengobrol hangat dan dalam - Tsukushi meminta Tsukasa untuk tidak pergi ke NYC lagi - dan memintanya untuk tidak pernah berpisah lagi. Tsukasa menyerah, cintanya pada Tsukushi membuatnya berjanji untuk itu dan berjanji untuk terus mencari cara agar bisa terhindar dari Kaede Doumyouji. Akhirnya, penculik yang juga adalah pemilik kapal dan pulau itu menunjukkan dirinya! Ia adalah Shigeru Okawahara yang berniat mengadakan pesta kecil! Mau tak mau, mereka menghabiskan waktu di pulau itu sampai akhirnya mereka kembali ke Tokyo. Kejutan tidak berakhir, begitu sampai dermaga - ternyata beberapa hari terakhir beredar berita mengenai hilangnya Tsukasa Doumyouji yang diduga diculik - sehingga ketika mereka berlabu, seluruh media dan pers Jepang sudah ramai untuk meliput dan mewawancaranya. Dalam kerusuhan dan keramaian itu, tiba-tiba ada seseorang yang menusuk Tsukasa dari belakang.....
Okey, cuesta asimilar todo lo que passa en este tomo. Veo bastante ridículo lo del barco etc, pero bueno, eso ha servido para que Makino diga a Domyoji como se siente realmente ante su situación actual (y eso es de agreder) y que Tsukasa decida renunciar a su familia por ella es simplemente tan precioso <3 Hablando del intento de asesinato de Tsukasa WTF, sé lo que pasará así que meh. Pero siempre me questionaré si Kaede va a visitar a su hijo por amor o por simple educación... o porque si se muere nadie cuidará de su querida empresa (BRUJA)
This entire review has been hidden because of spoilers.
It was so romantic, the two live birds swept away in the sea, just the two of them in a ship and them seemingly in an island. There was even a peek-a-boo scene after shower. Lol
In the island, Tsukushi declared her love once again to Tsukasa. They were having this romantic moment when ta-daa, the gang was there. Haha.
In the dock however, there was bloodied Tsukasa being rush into the ER.
Alright at least we are back to some of the drama I started this for. I don't know how the author manages to keep outdoing herself with over-the-top stories but let's go, I hope she does something interesting with this.
Stuck on an abandoned ship, the pair search for clues for who orchestrated this. Then there's the island where they see each other in a new way, while trying to understand how they feel for each other. My heart dropped at the end of this volume. Plus, how can his mom be so cold?
La escena de la isla siempre me ha parecido algo muy jalado de los pelos, siento que en la película de la adaptación japonesa tiene muchísimo más sentido.
Mmmm… Bon, la fin du tome trente donnait un peu le ton de celui-ci, mais j'avoue qu'arriver à ce point dans l'histoire pour avoir un retournement vraiment WTF, c'est tout de même pousser le bouchon un petit peu loin. Je vous fais le topo rapidement : enlèvement de nos deux héros, pour les mettre sur un paquebot de luxe en pilote automatique sans personne à bord… Mais qui, QUI, peut penser à un truc aussi improbable ? J'ai un autre mot en tête, mais on va rester polie…
Difficile de passer outre le n'importe quoi de la situation… C'est lunaire… Tout du long, j'étais en train de me demander comment une chose aussi peu crédible pouvait avoir un sens pour la mangaka… Alors que l'on était arrivé à un niveau scénaristique plutôt bon… Donc une petite douche froide, surtout que même si il y a pas mal d'éléments fort sympathiques qui en découle, cet enlèvement ne fait que confirmer ce que l'on sait déjà.
Alors oui, Tsukushi et Tsukasa mettent les choses au clair. On voit encore une fois combien ils tiennent l'un à l'autre, mais au final, il n'y a pas vraiment d'avancée. Notre héroïne est toujours plus ou moins bloquée, ne se sent pas suffisamment à l'aise pour réclamer de l'attention, encore moins à penser à aller plus loin malgré les nombreuses insinuations sexuelles depuis le début du manga. Je ne dis pas qu'elle devrait se jeter dans les bras de Tsukasa, mais… nous sommes au tome trente-et-un tout de même… Donc frustration à gogo même si oui, encore une fois, il y a de la communication et pas mal de scènes très mignonnes.
La fin est un peu à double tranchant. D'un côté, je trouve que l'on a un côté de « trop », où la mangaka joue encore sur une situation dramatique et tirer sur la corde en mettant un obstacle de plus sur la route du couple phare et d'un autre… c'est aussi l'ouverture sur quelque chose de plus complexe et en relation avec le plus gros problème de cette histoire : Kaede. Au niveau émotionnel, c'est au top, mais j'attends de voir ce que cela donnera par la suite.
Whoa the end of this volume... intense. The rest of it... stupid. How in the WORLD are Tsukushi and Tsukasa DOH!! This is so unrealistic it hurts. It drove me insane that not once were they ever worried about what was happening to them. They were just like "yup, no big."
Ugh!!! And seriously, I love Shigeru but seriously... her family's SP officers were really just like *slaps forehead* So unbelievable.
This volume, at least the beginning of it, was a real miss. The first one of this series where I actually thought "ugh, this is dumb" while I was reading it.
Though I do love the coat Rui has on on the cover XD
There was something in the way all of the characters came together that I found irresistibly compelling about this series. It did remind me a lot of Ouran while I was reading it and maybe that is why I liked it so much. Tsukushi is an interesting protagonist, I loved when she started taking action and sticking up for herself.
While I wasn’t overly fond of the artwork style I was able to get past it because I my love for the storyline. This is an honest story with twists and turns, ups and downs, but then again that is real life.