TO me, Chi-ran is like a domestic disturbance in the apartment next to you - you don't really want to listen but you can't stop yourself from pressing your ear up tighter to the wall. . .or maybe it's just me. I pick up and read most of her works but I always think afterwards, 'why?' The art is not what I'd think I'd like but I find myself staring at it. I'm still not sure if I like it or not. I'm also not sure if I like the story telling method or not either. Sometimes it seems lacking, but I can't pinpoint in what way.
I think it is because of that fresh breath of air that Chi-ran always breaths into her stories; the one that pushes the mind beyond what we've been told to accept as proper, is what keeps me reading. (My favourite story by her is the main story between Kazui and Kai in Koi no Katachi.)
This story did fluctuate from comedy to serious quite quickly, as Alusandrea mentioned. That story telling technique, in itself, was intriguing. Life is about comedy and tragedy all at once.
Rai's motivation for the 'fit of rage and despair' is believable and his choice in person of someone like Mamiya because of his innocent and trusting and blithely unaware attitude was also believable. I liked that sequence very much. Mamiya's reactions throughout the rest of the story were methodical and well paced.
The way that this mangaka showed Rai's slow discovery of his real feelings for Mamiya was fascinating psychology. And Mamiya's misconstrued version of Rai's motivation was bang-on. In fact, Rai was the most interesting character mentally speaking. He behaves selfish and cruel with one action and then selfless and kind (chapter 3) in the same day. Ah. What a piece of work is man!
I love the friendship of the four of them as well. It was . . er, a different sort of dynamics.
The best funny line to me was 'what you're making me do is the same as forbidding me to go to the washroom!' Hilarity.
WHat was the money envoelpe in the very first sequence anyway?
(-32)
