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大奥 [Ōoku] #13
Ōoku: The Inner Chambers, Vol. 13
After the discovery of the Redface Pox vaccine, the male population of Japan has nearly recovered, and men have become used to being in public life and government again. So as the first female shogun in over 60 years, Iesada has many challenges to face, such as an Inner Chamber unused to a woman’s needs. But the greatest threat she faces is her own father’s unhealthy interest in her…
248 pages, Paperback
First published April 28, 2016
7 people are currently reading
103 people want to read
About the author
Fumi Yoshinaga
157 books248 followersJapanese: よしなが ふみ
Fumi Yoshinaga (よしなが ふみ Yoshinaga Fumi, born 1971) is a Japanese manga artist known for her shōjo and shōnen-ai works.
Fumi Yoshinaga was born in Tokyo, Japan in 1971. She attended the prestigious Keio University in Tokyo.
In an interview, she said that "I want to show the people who didn't win, whose dreams didn't come true. It is not possible for everybody to get first prize. I want my readers to understand the happiness that people can get from trying hard, going through the process, and getting frustrated."
Little is known about her personal life. She mentions that her favourite operas are those by Mozart in the author's note of Solfege.
She debuted in 1994 with The Moon and the Sandals, serialized in Hanaoto magazine, but was previously a participant in comic markets.
Of Yoshinaga's many works, several have been licensed internationally. She was also selected and exhibited as one of the "Twenty Major Manga artist Who Contributed to the World of Shōjo Manga (World War II to Present)" for Professor Masami Toku's exhibition, "Shōjo Manga: Girl Power!" at CSU-Chico.
Outside of her work with Japanese publishers, she also self-publishes original doujinshi on a regular basis, most notably for Antique Bakery. Yoshinaga has also drawn fan parodies of Slam Dunk, Rose of Versailles, and Legend of Galactic Heroes.
Fumi Yoshinaga (よしなが ふみ Yoshinaga Fumi, born 1971) is a Japanese manga artist known for her shōjo and shōnen-ai works.
Fumi Yoshinaga was born in Tokyo, Japan in 1971. She attended the prestigious Keio University in Tokyo.
In an interview, she said that "I want to show the people who didn't win, whose dreams didn't come true. It is not possible for everybody to get first prize. I want my readers to understand the happiness that people can get from trying hard, going through the process, and getting frustrated."
Little is known about her personal life. She mentions that her favourite operas are those by Mozart in the author's note of Solfege.
She debuted in 1994 with The Moon and the Sandals, serialized in Hanaoto magazine, but was previously a participant in comic markets.
Of Yoshinaga's many works, several have been licensed internationally. She was also selected and exhibited as one of the "Twenty Major Manga artist Who Contributed to the World of Shōjo Manga (World War II to Present)" for Professor Masami Toku's exhibition, "Shōjo Manga: Girl Power!" at CSU-Chico.
Outside of her work with Japanese publishers, she also self-publishes original doujinshi on a regular basis, most notably for Antique Bakery. Yoshinaga has also drawn fan parodies of Slam Dunk, Rose of Versailles, and Legend of Galactic Heroes.
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Displaying 1 - 28 of 28 reviews
December 3, 2018
This is the thirteenth volume of this gorgeously rendered—in lush period costumes--alternative history set in the Edo period of Japan, wherein a large percentage of the male population had died out from the Red Pox, creating a huge shift in gender/power relations. At the conclusion of volume twelve Admirable Perry was arriving in Japan, signaling a huge shift in Japanese history, but at the outset of volume 13 we head back again to take a closer look at key events seventeen years earlier, as the cure for the Red Pox has been found, the male population is returning, and gender/power relations are also returning back to what they were, in some respects, to what had been the case before a roughly two century interruption.
There are things that bug me about this volume and the series: The translation that attempts to mimic medieval English and feels stilted; there are many pages in which the words drown out the images and many characters—and there are also SO many characters--are hard to distinguish from each other (thus requiring the guide to characters that opens the volume).
But on the whole, this truly is brilliant, a 5-star series, one of the greatest ever. With amazing art, sometimes jaw-dropping brutality and sexual politics. Not a kiddie manga, certainly. The series takes Japanese history and makes one teensy-weensy change and asks what impact that would make in Japanese society and history: What if women ruled the world? Her answers in the series are really interesting, and complex and entertaining.
This particular volume focuses on Sachiko, the daughter of the Shogun and heir to the shogunate. But she is also the victim of incest with the most powerful man in the region. The machinations to protect Sachiko that have her also emerge as an international power—and no longer be isolationist--is fascinating, and sometimes moving. There is also more sexual activity in this volume than we have seen for some time, some focused on Kagema—male prostitutes—some of whom dress as women. Who occupies the harem/brothel in a time of power? How does the population of those occupations shift as power relations shift? Another example:
“. . . and so it is today, the female courtesans of Yoshiwara are entertaining men wearing robes worn by male prostitutes servicing women--women copying men who were pretending to be women!”
“I see! You made that very easy to understand!”
But would things go back completely to patriarchy, after some of the good things (and bad things) Japan experienced with women in power for centuries? The story of Sachiko is one answer to this question. Ooku is one of the best examples of manga as an art form, period.
There are things that bug me about this volume and the series: The translation that attempts to mimic medieval English and feels stilted; there are many pages in which the words drown out the images and many characters—and there are also SO many characters--are hard to distinguish from each other (thus requiring the guide to characters that opens the volume).
But on the whole, this truly is brilliant, a 5-star series, one of the greatest ever. With amazing art, sometimes jaw-dropping brutality and sexual politics. Not a kiddie manga, certainly. The series takes Japanese history and makes one teensy-weensy change and asks what impact that would make in Japanese society and history: What if women ruled the world? Her answers in the series are really interesting, and complex and entertaining.
This particular volume focuses on Sachiko, the daughter of the Shogun and heir to the shogunate. But she is also the victim of incest with the most powerful man in the region. The machinations to protect Sachiko that have her also emerge as an international power—and no longer be isolationist--is fascinating, and sometimes moving. There is also more sexual activity in this volume than we have seen for some time, some focused on Kagema—male prostitutes—some of whom dress as women. Who occupies the harem/brothel in a time of power? How does the population of those occupations shift as power relations shift? Another example:
“. . . and so it is today, the female courtesans of Yoshiwara are entertaining men wearing robes worn by male prostitutes servicing women--women copying men who were pretending to be women!”
“I see! You made that very easy to understand!”
But would things go back completely to patriarchy, after some of the good things (and bad things) Japan experienced with women in power for centuries? The story of Sachiko is one answer to this question. Ooku is one of the best examples of manga as an art form, period.
January 23, 2019
I do so love this series. One of my first and still my favorite manga ever, I am always totally transported by the stories of the lords and ladies of the inner chamber, the private domain of the shogun of ancient Japan. Generations have come and gone throughout what is about to become a fourteen volume series. The stories ebb and flow and some hold my interest more than others but I always this wonderful sense of peace and fulfillment when I finish one. Every one of Fumi Yoshinaga's perfect drawings are treasures. She draws with such precision and yet with such grace. Every page is filled with incredibly detail but the drawings never feel fussy or too busy. She conveys a depth of emotion in her drawing that I simply have never seen in any other manga artist. Her hero's and heroine's are always the height of noble austerity and yet they engage in moments of absolutely breath taking passion.
The story arc in volumes 13 and 14 is certainly full of that passion. I haven't enjoyed the series this much since its opening volumes with the story of the first female shogun Iemitsu and her beloved concubine Arikoto (which was made into a Japanese mini series that I have now watched approximately one billion times).
The red face pox that was responsible for almost decimated the male population of Japan for generations has at last been eradicated and the men in Japan now almost equal the women. Men are beginning to resume their "rightful" place as leaders and with the rest of the world knocking at the door demanding trade rights and treaties the time of Japan's isolation and female dominated society may at last be at an end.
The Lady Iesada is the heir apparent to her father the current shogun and will be the first female shogun in two generations. Unfortunately she's also been the object of her father's disgusting and unbridled lust for years. He poisons the consorts chosen for her and does everything to keep her to himself. Only her chief retainer, the loyal and brilliant Lady Masahiro, stands between her and his continual abuse. When he finally dies and she is elevated to shogun a new consort, the handsome, kind, and devoted Taneatsu arrives and may finally be able to grant her the happiness that has eluded her all her life. But Japan stands on a dangerous precipice and decisions must be made about its future in the world. Iesada must look for advice and inspiration from all corners of her country, not just the noble families that have historically ruled based entirely on lineage and social standing.
This story line is incredibly romantic and tragic and also deeply interesting. Its been awhile since we've really examined the inner workings of the country and watching the evolution from a traditional monarchy to a more democratic government and what that does to the ancient families and traditions is really fascinating. I continue to be in awe of Yoshinaga's understanding of Japanese history and her ability to reconfigure it in this alternate version of events in such an amazingly realistic way.
As much as I long for a happy future for Iesada and her consort, peace and contentment is about the last thing that ever results in this series, but I can be certain I'll never, ever be bored.
The story arc in volumes 13 and 14 is certainly full of that passion. I haven't enjoyed the series this much since its opening volumes with the story of the first female shogun Iemitsu and her beloved concubine Arikoto (which was made into a Japanese mini series that I have now watched approximately one billion times).
The red face pox that was responsible for almost decimated the male population of Japan for generations has at last been eradicated and the men in Japan now almost equal the women. Men are beginning to resume their "rightful" place as leaders and with the rest of the world knocking at the door demanding trade rights and treaties the time of Japan's isolation and female dominated society may at last be at an end.
The Lady Iesada is the heir apparent to her father the current shogun and will be the first female shogun in two generations. Unfortunately she's also been the object of her father's disgusting and unbridled lust for years. He poisons the consorts chosen for her and does everything to keep her to himself. Only her chief retainer, the loyal and brilliant Lady Masahiro, stands between her and his continual abuse. When he finally dies and she is elevated to shogun a new consort, the handsome, kind, and devoted Taneatsu arrives and may finally be able to grant her the happiness that has eluded her all her life. But Japan stands on a dangerous precipice and decisions must be made about its future in the world. Iesada must look for advice and inspiration from all corners of her country, not just the noble families that have historically ruled based entirely on lineage and social standing.
This story line is incredibly romantic and tragic and also deeply interesting. Its been awhile since we've really examined the inner workings of the country and watching the evolution from a traditional monarchy to a more democratic government and what that does to the ancient families and traditions is really fascinating. I continue to be in awe of Yoshinaga's understanding of Japanese history and her ability to reconfigure it in this alternate version of events in such an amazingly realistic way.
As much as I long for a happy future for Iesada and her consort, peace and contentment is about the last thing that ever results in this series, but I can be certain I'll never, ever be bored.
October 15, 2021
La série prend une tournure intéressante puisque la narration doit maintenant composer avec un "retour à la normal" (ou un monde post-apocalyptique selon moi) puisque la vaccination est maintenant normalisée et les hommes reprennent petit à petit les postes de pouvoir qu'ils avaient (au détriment des femmes) presque comme un retour de balancier. Les dynamiques femmes-hommes semblent aussi revenir à celle d'avant la pandémie (notamment en ce qui à trait à la violence envers les femmes et des préconceptions essentialistes qui surviennent dans les propos de certains personnages) et les enjeux de la politique japonaise ne sont plus simplement locaux, mais les relations internationales sont maintenant au premier plan.
Il n'est donc pas étonnant qu'on adresse de très multiples sujets dans ce volume notamment au sujet de "l'inversion" des rôles (parfois carnavalesque) superbement illustré par Takiyama qui explore, dans ses propos et sa propre vie, la transition sociale et embrasse cette multiplicité entièrement. Il a de très beaux dialogues tout le long, mais l'histoire qu'il explique à Abe Masahiro concernant les kimonos de courtisanes (et il y a un beau transfert aussi avec le kimono d'intendant à la fin, ça me rappelle l'attention porté à la poétique du vêtement dans un des premiers tomes). Il y aurait probablement à dire aussi sur cette genderqueerisation de la société.
L'importance des relations internationales vient aussi jouer énormément dans les dynamiques de pouvoir, alors qu'on avait affaire essentiellement à des intrigues de cour et faire face à la population, un troisième enjeu politique doit maintenant être pris en compte dans l'exécution de la politique ce qui fait en sorte qu'on a des personnages un peu plus mature, il me semble, en politique (sans maturité, c'est l'invasion du Japon et ce n'est évidemment pas concevable pour les gens au pouvoir). Ça se traduit par une recherche d'équilibre plus intéressante, notamment sur des questions de classe, mais aussi d'aversariat politique ce qui rend le récit très intéressant.
La question de la violence genrée revient aussi au premier plan et de manière très frontale avec la question du viol et de l'inceste et des menaces de violences envers les femmes. Une critique très directe de notre propre société qui n'avait pas vraiment été possible dans un régime matrilinéaire comme la série l'avait été jusqu'à présent (ou en fait, pas possible qu'autrement qu'à travers le prisme de l'inversion des genres et des rôles). Cette question touche aussi les enjeux internationaux qui forcent la contamination de la politique (la perception des anglais sur les femmes en poste de pouvoir comme un aveu de faiblesse force la considération des hommes shōgun).
Un volume donc extrêmement riche à mon avis. J'ai à peine effleuré les nombreux thèmes et la narration du volume, il y a encore beaucoup beaucoup beaucoup plus de choses à creuser et on voit vraiment une belle réalisation qui à la fois réussi à poursuivre la mission que l'autrice s'était lancée malgré un changement de paradigme important dans cet univers et une possible fin prochaine de la série et éviter de succomber à la tentation de juste en finir là aussi valait vraiment le détour. On n'a pas l'impression que ça s'étire, au contraire, il y a un beau second souffle à cette série.
Il n'est donc pas étonnant qu'on adresse de très multiples sujets dans ce volume notamment au sujet de "l'inversion" des rôles (parfois carnavalesque) superbement illustré par Takiyama qui explore, dans ses propos et sa propre vie, la transition sociale et embrasse cette multiplicité entièrement. Il a de très beaux dialogues tout le long, mais l'histoire qu'il explique à Abe Masahiro concernant les kimonos de courtisanes (et il y a un beau transfert aussi avec le kimono d'intendant à la fin, ça me rappelle l'attention porté à la poétique du vêtement dans un des premiers tomes). Il y aurait probablement à dire aussi sur cette genderqueerisation de la société.
L'importance des relations internationales vient aussi jouer énormément dans les dynamiques de pouvoir, alors qu'on avait affaire essentiellement à des intrigues de cour et faire face à la population, un troisième enjeu politique doit maintenant être pris en compte dans l'exécution de la politique ce qui fait en sorte qu'on a des personnages un peu plus mature, il me semble, en politique (sans maturité, c'est l'invasion du Japon et ce n'est évidemment pas concevable pour les gens au pouvoir). Ça se traduit par une recherche d'équilibre plus intéressante, notamment sur des questions de classe, mais aussi d'aversariat politique ce qui rend le récit très intéressant.
La question de la violence genrée revient aussi au premier plan et de manière très frontale avec la question du viol et de l'inceste et des menaces de violences envers les femmes. Une critique très directe de notre propre société qui n'avait pas vraiment été possible dans un régime matrilinéaire comme la série l'avait été jusqu'à présent (ou en fait, pas possible qu'autrement qu'à travers le prisme de l'inversion des genres et des rôles). Cette question touche aussi les enjeux internationaux qui forcent la contamination de la politique (la perception des anglais sur les femmes en poste de pouvoir comme un aveu de faiblesse force la considération des hommes shōgun).
Un volume donc extrêmement riche à mon avis. J'ai à peine effleuré les nombreux thèmes et la narration du volume, il y a encore beaucoup beaucoup beaucoup plus de choses à creuser et on voit vraiment une belle réalisation qui à la fois réussi à poursuivre la mission que l'autrice s'était lancée malgré un changement de paradigme important dans cet univers et une possible fin prochaine de la série et éviter de succomber à la tentation de juste en finir là aussi valait vraiment le détour. On n'a pas l'impression que ça s'étire, au contraire, il y a un beau second souffle à cette série.
September 2, 2025
Vol. 8 ★★★☆☆
Vol. 9 ★★★☆☆
Vol. 10 ★★★☆☆
Vol. 11 ★★★★☆
Vol. 12 ★★★★★
With the passage of times comes a new batch of Ōoku characters. After the success of the Redface Pox vaccine, things have shifted back to how they are before and women in positions of power are once again the exception rather than the rule. What I like about this volume is that these characters—Iesada, Masahiro, and Takiyama—are underdogs that you can't help but root for. Even though they are smart and competent, people don't take them seriously and it makes me so frustrated on their behalf. They have such a great dynamic together that I wish they would somehow succeed and prove everyone wrong. Furthermore, Ōoku has been such a brutal series that I was touched by the efforts that Masahiro and Takiyama take to protect Iesada from her father. But of course, nothing good ever happens to the characters that I like so it's only a matter of time before something terrible happens.
Vol. 9 ★★★☆☆
Vol. 10 ★★★☆☆
Vol. 11 ★★★★☆
Vol. 12 ★★★★★
With the passage of times comes a new batch of Ōoku characters. After the success of the Redface Pox vaccine, things have shifted back to how they are before and women in positions of power are once again the exception rather than the rule. What I like about this volume is that these characters—Iesada, Masahiro, and Takiyama—are underdogs that you can't help but root for. Even though they are smart and competent, people don't take them seriously and it makes me so frustrated on their behalf. They have such a great dynamic together that I wish they would somehow succeed and prove everyone wrong. Furthermore, Ōoku has been such a brutal series that I was touched by the efforts that Masahiro and Takiyama take to protect Iesada from her father. But of course, nothing good ever happens to the characters that I like so it's only a matter of time before something terrible happens.
October 23, 2022
3.5 stars
This volume takes us into the post-Red Face Pox era and it's quite a whirlwind. We see a rapid reversion to "typical" gendered division of power, politics and society - all of which make frightening sense - like the physical division of work in the field and, more scarily, misogyny and threat of sexual violence as a form of control and power. The thread of "power corrupts" continues in this volume - which is difficult to read - as always.
There is also some really difficult stuff here so please check out trigger warnings. The explorations of cycles of violence in families was well done but kind of turned my stomach.
Also, the series is approaching the Meiji restoration and the incursion of Western powers into Japan which makes for fascinating history as well. I took a lot of notes about stuff I want to follow-up on.
In the end however, I was left a bit distant from all the events of the book which I find odd - and possibly has more to do with the headache I feel like I've had all of October. Some of it is intentional though - there is a lot of sexual violence (threats and actual) here and against women. Their response to be stoical about it "and keep a smile on their face" left me a bit chilled - but I think that is the intent.
In the end I am going with my (confused) gut and giving this a 3.5 - it's well done but relatively the weakest in the series for me in terms of emotional connection. This may be because I have such high expectations from the series but I am not sure how much credit to give this.
By far - this series has been the highlight of my reading year, so this volume stands out only in terms of contrast. If I had read this after a longer break (as it was published), I would have probably found it more impactful.
This volume takes us into the post-Red Face Pox era and it's quite a whirlwind. We see a rapid reversion to "typical" gendered division of power, politics and society - all of which make frightening sense - like the physical division of work in the field and, more scarily, misogyny and threat of sexual violence as a form of control and power. The thread of "power corrupts" continues in this volume - which is difficult to read - as always.
There is also some really difficult stuff here so please check out trigger warnings. The explorations of cycles of violence in families was well done but kind of turned my stomach.
Also, the series is approaching the Meiji restoration and the incursion of Western powers into Japan which makes for fascinating history as well. I took a lot of notes about stuff I want to follow-up on.
In the end however, I was left a bit distant from all the events of the book which I find odd - and possibly has more to do with the headache I feel like I've had all of October. Some of it is intentional though - there is a lot of sexual violence (threats and actual) here and against women. Their response to be stoical about it "and keep a smile on their face" left me a bit chilled - but I think that is the intent.
In the end I am going with my (confused) gut and giving this a 3.5 - it's well done but relatively the weakest in the series for me in terms of emotional connection. This may be because I have such high expectations from the series but I am not sure how much credit to give this.
By far - this series has been the highlight of my reading year, so this volume stands out only in terms of contrast. If I had read this after a longer break (as it was published), I would have probably found it more impactful.
March 22, 2021
作者果然不會放過重要人物性轉的機會(所以德川家齊和家慶都不重要XDD)
June 28, 2018
OK, I finally reached the end of my library's run of Ooku, so it must be time for a review. I've rated the individual volumes as 4 stars, but the series as a whole is deserving of 5+ stars. One of the best alternate history ideas I've ever read. Strong, absorbing, and consistent, even as the story shifts through a couple of centuries. The characters are as detailed and vibrant as the art. My only complaint is that it wasn't in color, especially given the elaborate costuming. Given the exotic setting, the brutal palace intrigue, and unrelenting trickle of sex, I'm actually shocked that HBO or someone hasn't snatched this up. And yet, under all that, it's incredibly relevant. It poses questions about gender roles, sexuality, science versus tradition, democratic values, loyalty, and honor that we're still looking for answers for today. I congratulate Fumi Yoshinaga, these books are an incredible achievement.
November 30, 2017
One of the most gorgeous volumes in a long time.
February 20, 2018
fumi yoshinaga's talent for writing characters and relationship dynamics you fall in love with instantly is truly incredible
5 stars
5 stars
Read
October 12, 2022Once again I got a brief respite from The Suffering with a kagema (young male sex worker) who dresses as a woman and in fact refuses to addressed with any masculine terms while at work, despite wholly identifying as male outside... but of course he sees the gender nonconformity as a solely necessary act to repay his debts which he will forget about the second it's over.
I'm going to have a critique for every volume, and this time it's definitely that, 2/3s of the way through this series, we've still only ever had one canonically GNC &/or gay character whose nonconformity was not seen as Weird and Unnatural (Hiraga Gennai, who nonetheless was punished for his nonconformity with , however historically realistic, and also had explicit social reasons for 'posing as a man'.) We're even back to people being misogynistic about how women can't rule, etc. etc., which is absolutely fine in theory, but I wind up feeling like Yoshinaga is painting a very complacent picture of a world where the 'natural order' is for women to be subjugated and where everyone follows gender norms. The only time we question the way things are is when someone is not conforming, and then there's always some explanation for their Deviant Act, because obviously nobody would be nonconformist unless they absolutely had to. Especially for a yaoi mangaka, who in theory should have some understanding that The Norm is not always beneficial to everyone, it's frustrating to find her seemingly holding back here.
With that said: the series remains unbelievably bingable and I still recommend it generally; it's just frustrating not to have any GNC characters in a series so massively concerned with gender!
I'm going to have a critique for every volume, and this time it's definitely that, 2/3s of the way through this series, we've still only ever had one canonically GNC &/or gay character whose nonconformity was not seen as Weird and Unnatural (Hiraga Gennai, who nonetheless was punished for his nonconformity with , however historically realistic, and also had explicit social reasons for 'posing as a man'.) We're even back to people being misogynistic about how women can't rule, etc. etc., which is absolutely fine in theory, but I wind up feeling like Yoshinaga is painting a very complacent picture of a world where the 'natural order' is for women to be subjugated and where everyone follows gender norms. The only time we question the way things are is when someone is not conforming, and then there's always some explanation for their Deviant Act, because obviously nobody would be nonconformist unless they absolutely had to. Especially for a yaoi mangaka, who in theory should have some understanding that The Norm is not always beneficial to everyone, it's frustrating to find her seemingly holding back here.
With that said: the series remains unbelievably bingable and I still recommend it generally; it's just frustrating not to have any GNC characters in a series so massively concerned with gender!
April 16, 2018
I'm tempted to rate higher because this volume introduced characters who felt vivid and individual, but after so long with this series I can't help but feel the drag, especially now that the instigating incident of the Red-Face Pox is well and truly dealt with. There's so much dialogue and exposition that I feel it would have been better as a novel (though goodness knows the kimono and the covers are still gorgeous), and combined with Yoshinaga's same dozen faces repeated over and over again, the point of having this be a graphic novel is lost in all but a few scenes. I'm going to keep going with the series because after thirteen volumes I'm invested, but if I didn't see it winding down soon I might now have the strength.
March 1, 2020
With the redface pox more or less dealt with, Japan as a country faces a new step: figuring out how to deal with the outside world. Also, how will the now return of a balance between the genders affect how the country is run?
I was going to give this four stars because of the silly focus on physical strength at the start of the book (men are on average stronger than women, but that doesn't mean all men are stronger than all women + the whole myth about women being Oh So Delicate is an upper class thing, so that being brought up always takes me out of a story), buuuut then this book gave me such good friendships and other reasons for things turning out the way it did. Looking forward to the next book!
I was going to give this four stars because of the silly focus on physical strength at the start of the book (men are on average stronger than women, but that doesn't mean all men are stronger than all women + the whole myth about women being Oh So Delicate is an upper class thing, so that being brought up always takes me out of a story), buuuut then this book gave me such good friendships and other reasons for things turning out the way it did. Looking forward to the next book!
November 3, 2020
When reading graphic novels or manga, I often lament how many reader will miss out on an amazing story simply because of the format it's written in or their narrow view of what a literary book should be. Ooku is probably my number one in this category not only because it's truly excellent in every aspect but also because I think the subject material is both innovative and has amazing emotional depth.
If Hillary Mantel can win two Booker prizes for her Thomas Cromwell series, I would say that Ooku is even more deserving and yet the vast majority of western literary fiction readers will never even know Ooku exists, simply because it is a manga and not a novel.
If Hillary Mantel can win two Booker prizes for her Thomas Cromwell series, I would say that Ooku is even more deserving and yet the vast majority of western literary fiction readers will never even know Ooku exists, simply because it is a manga and not a novel.
December 31, 2019
We see the entrance of another set of interesting characters here as the legacy of Harusads continues through the reign of her son, Ienari, and grandson, Ieyoshi. Iesada, Ieyoshi's abused daughter, is set to become the next shogun and with the help of Senior Counselor Masahiro & Senior Chamberlain Takiyama, I suspect they will be quite the formidable trio. I look forward to seeing what comes next.
January 19, 2024
After the eradication of the Redface pox, the focus shifts as a female shogun once again rises to power.
I never would have thought this series could 'survive' the end of the pox but as usual it does a wonderful job. The Americans via President Fillmore's navy arrive which presents a very different concern. Shogun Iesada has a wonderful protector in Baron Abe but what she needs protecting from is very dark indeed.
I never would have thought this series could 'survive' the end of the pox but as usual it does a wonderful job. The Americans via President Fillmore's navy arrive which presents a very different concern. Shogun Iesada has a wonderful protector in Baron Abe but what she needs protecting from is very dark indeed.
September 22, 2024
Amé las referencias a Arikoto en el último capítulo 😭🙌.
Y me gustó que ahora la relación romántica tiene una dinámica muy distinta a todas las demás.
También el personaje de Masahiro (la de la portada) me pareció muy interesante, una mujer muy amable e impresionantemente inteligente y astuta, una combinación poco vista en medios de entretenimiento. Me gusta la gran variedad de personajes que tiene este manga.
Y me gustó que ahora la relación romántica tiene una dinámica muy distinta a todas las demás.
También el personaje de Masahiro (la de la portada) me pareció muy interesante, una mujer muy amable e impresionantemente inteligente y astuta, una combinación poco vista en medios de entretenimiento. Me gusta la gran variedad de personajes que tiene este manga.
February 19, 2019
I still really like this series. While it has never shied away from harshness and depravities, this volume in particular has some choice unsavoriness that requires content warnings. Beautiful art, melodrama galore.
April 14, 2019
Yoshinaga-sensei hits it out of the park yet again.
September 17, 2019
And the plot thickens once again!!
February 17, 2020
That reveal on 232 just took my damn breath away.
February 10, 2021
I had an honest belly laugh at the antics in the kitchen this go-around, and the rest of the volume was as thoughtful and thought-provoking as I've come to expect.
Read
April 12, 2022「那些意見特多的傢伙，說穿了就是沒有負責的覺悟才會大放厥詞。」
這不就是柯文哲嗎！
這不就是柯文哲嗎！
December 16, 2022
A lot of political maneuvering, much of which is focused around trying to protect Sachiko from her father, the shogun.
January 11, 2023
なんてこった。
19世紀の「大塩平八郎の乱」「ペリー来航」「日米通商条約」等々、歴史の教科書で見てきた出来事が、出てくるのに、面白い。
あっという間に19世紀になってしまったな...
やはり、賢い女性達が魅力的(そして賢い男性の脇役も)
性的虐待されてた家定を家臣が守るのが、すごく胸のすく気分。
19世紀の「大塩平八郎の乱」「ペリー来航」「日米通商条約」等々、歴史の教科書で見てきた出来事が、出てくるのに、面白い。
あっという間に19世紀になってしまったな...
やはり、賢い女性達が魅力的(そして賢い男性の脇役も)
性的虐待されてた家定を家臣が守るのが、すごく胸のすく気分。
August 14, 2023
Combined review of Volumes 13 & 14 here: https://www.skjam.com/2023/08/14/mang...
March 7, 2024
i miss o-man 🥹
November 22, 2017
More reviews (and no fluff) on the blog http://surrealtalvi.wordpress.com/
There is a good reason this is an Eisner nominated manga - it truly is brilliant. Taking Japanese history as a foundation and using one small but key change (a killer plague that targets males), she has created a lush story full of incredible characters and shifty political machinations. With this 13th volume, the story comes full circle as the vaccine is in effect and the male population is recovering. The balance of power changes and the world is beginning to look a lot like its historical counterpart again with male dominance.Story: Sachiko is the daughter of the Shogun. Brilliant and beautiful, she is the apple of her father's eye and the heir to the shogunate. But her father's interest in her is indecent and he has the power to ensure that his daughter remains his alone. But coming of age is a young lady who is also smart at reading people. Abe is from a family that has protected the shogunate for centuries and she will, with the help of a noble relegated to brothel service, begin to outmaneuver the Shogun and protect her charge from further abuse. But Sachiko, soon to be Shogun Ieyasu, will bear many scars as a result. While at the same time, she must chart the course for a Japan that can no long be isolationist - and the American black ships must be addressed.
This was a particularly moving volume and of course taking place in an interesting time. The Dutch had long been established in Japan but Britain had just conquered the eternal Qing (the Opium Wars) and Japan had good reason to fear that they, a smaller nation with no navy, would be next. All these historical events are given as sidelines so readers know the context of the actions. But while the political machinations are interesting, Yoshinaga truly shines at the characterizations.
Through 13 volumes and hundreds of figures (the story travels several centuries) there have been so many distinct voices. Even now we have a volume peppered with all that humanity has to offer. There are no bad guys or good guys - just people going by their own motivations. Some are weak, some are greedy, some are idealistic, but all are nuanced and feel very real.
As a perfect complement to the layered story, the illustrations add greatly to the subtlety of points and characters. Yoshinaga's linework is clean and the panels laid out perfectly to underscore so many important scenes. Little tics, surprise, and so many unspoken moments are perfectly represented by evocative illustration work. It all looks like a simple shoujo manga but there is so much more here to be found. It makes it worth the time to really look at the illustration work or you miss something important.
Ooku is one of the best examples of manga being an art form and not a 'comic' to be read and discarded/forgotten. We have master storytelling here that perfectly blends words and pictures. I eagerly look forward to the next volume. Reviewed from an advance reader copy provided by the publisher.
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