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Mr. Arashi's Amazing Freak Show
The series is about an orphan girl named Midori, whom is taken in (enslaved) by a traveling freak show. The freak show includes such unsavory characters as a mummyman, a snake woman, and a drooling man with no limbs. The owner of the freak show, the eponymous Mr. Arashi, is a strict man who allows his freaks very little freedom or joy in life. He is especially cruel to Midori. Midori works, not as a freak since she is normal, but as a sort of caretaker of the freaks.
160 pages, Paperback
First published September 1, 1984
20 people are currently reading
1833 people want to read
About the author
Suehiro Maruo
55 books365 followersSuehiro Maruo ( 丸尾 末広) is a Japanese manga author and illustrator.
Maruo graduated from junior high school in March 1972 but dropped out of senior high school. At the age of 15 he moved to Tokyo and began working for a bookbinder. At 17, he made his first manga submission to Weekly Shōnen Jump, but it was considered by the editors to be too graphic for the magazine's format and was subsequently rejected. Maruo temporarily removed himself from manga until November 1980 when he made his official debut as a manga artist in Ribon no Kishi (リボンの騎士) at the age of 24. It was at this stage that the young artist was finally able to pursue his artistic vision without such stringent restrictions over the visual content of his work. Two years later, his first stand-alone anthology, Barairo no Kaibutsu (薔薇色の怪物; Rose Colored Monster) was published.
Maruo was a frequent contributor to the legendary underground manga magazine Garo (ガロ).
Like many manga artists, Maruo sometimes makes cameo appearances in his own stories. When photographed, he seldom appears without his trademark sunglasses.
Though most prominently known for his work as a manga artist, Maruo has also produced illustrations for concert posters, CD Jackets, magazines, novels, and various other media. Some of his characters have been made into figures as well.
Though relatively few of Maruo's manga have been published outside of Japan, his work enjoys a cult following abroad.
His book Shōjo Tsubaki (aka Mr. Arashi's Amazing Freak Show) has been adapted into an animated film (Midori) by Hiroshi Harada with a soundtrack by J.A. Seazer, but it has received very little release.
Maruo graduated from junior high school in March 1972 but dropped out of senior high school. At the age of 15 he moved to Tokyo and began working for a bookbinder. At 17, he made his first manga submission to Weekly Shōnen Jump, but it was considered by the editors to be too graphic for the magazine's format and was subsequently rejected. Maruo temporarily removed himself from manga until November 1980 when he made his official debut as a manga artist in Ribon no Kishi (リボンの騎士) at the age of 24. It was at this stage that the young artist was finally able to pursue his artistic vision without such stringent restrictions over the visual content of his work. Two years later, his first stand-alone anthology, Barairo no Kaibutsu (薔薇色の怪物; Rose Colored Monster) was published.
Maruo was a frequent contributor to the legendary underground manga magazine Garo (ガロ).
Like many manga artists, Maruo sometimes makes cameo appearances in his own stories. When photographed, he seldom appears without his trademark sunglasses.
Though most prominently known for his work as a manga artist, Maruo has also produced illustrations for concert posters, CD Jackets, magazines, novels, and various other media. Some of his characters have been made into figures as well.
Though relatively few of Maruo's manga have been published outside of Japan, his work enjoys a cult following abroad.
His book Shōjo Tsubaki (aka Mr. Arashi's Amazing Freak Show) has been adapted into an animated film (Midori) by Hiroshi Harada with a soundtrack by J.A. Seazer, but it has received very little release.
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Displaying 1 - 30 of 171 reviews
August 5, 2015
If you know what ero-guro is, you know what you're getting into with Suehiro Maruo's work. He's one of the most well-known artists working in this area - the nexus of violence and beauty (or eroticism) - and it's pretty much a given that if you can't handle splatter films you shouldn't really be looking here.
No, I'm serious. I've seen some pretty terrible horror films, and the art on display here is fairly heinous, even by those standards. It's fetishistic and violent, and it takes cute puppy-like things (and actual puppies, at one point) and then stomps all over them. The only thing that causes one to persevere is the incredible artistry on display.
Hear me out: this is the story of an orphan girl, adopted by a diabolically bad travelling freak show. There's a range of despicable jerks who make her life hell, who love her or hate her (or both, in one bottle-fancying midget's case, it seems) and the tale hinges on whether this experience will break her; whether she will become one of them.
There'd be no point in drawing only depravity, because there'd be no glimmer of hope. So through the intensely detailed linework in the story, Maruo adds some kind of hope - it's as if the at times phantasmagorical events are rendered with such precision that they couldn't possibly be real. There's particularly touching, wordless elements at the end of the book where the art takes a more cinematic, dreamlike approach - great events are conveyed in single drawings. There's a beauty in the construction even if the draperies are rotted flesh.
What's interesting to me is that there is an historical precedent for the sort of grotesque tableaux Maruo presents in his work - the 1860s 'bloody prints' known as Muzan-e which detailed murders in graphic fashion. So rather than being shocking for the reasons that any parents' organisation would find enough to call for bans of sale, it could be argued that Maruo's work is part of a lineage; one that's difficult to stomach, but one which hasn't just turned up yesterday.
The reason this work intrigues is because it is both beautiful and terrible. It twangs something inside that frightens you, but it cannot be dismissed for being purely violent (because of the care taken in its execution) while at the same time it can't be cherished as fine art (because of the terribleness of its presentation). It takes the purity of its main character and throws it against the rocks of loss, perversion and degradation to see if she'll weaken. It's a proper descent into Hell, with the chance of a better life continually paraded and snatched away.
It's a real no-man's land, this work, so expect to see some twisted bodies when you explore it. But if you can stomach it, go there.
No, I'm serious. I've seen some pretty terrible horror films, and the art on display here is fairly heinous, even by those standards. It's fetishistic and violent, and it takes cute puppy-like things (and actual puppies, at one point) and then stomps all over them. The only thing that causes one to persevere is the incredible artistry on display.
Hear me out: this is the story of an orphan girl, adopted by a diabolically bad travelling freak show. There's a range of despicable jerks who make her life hell, who love her or hate her (or both, in one bottle-fancying midget's case, it seems) and the tale hinges on whether this experience will break her; whether she will become one of them.
There'd be no point in drawing only depravity, because there'd be no glimmer of hope. So through the intensely detailed linework in the story, Maruo adds some kind of hope - it's as if the at times phantasmagorical events are rendered with such precision that they couldn't possibly be real. There's particularly touching, wordless elements at the end of the book where the art takes a more cinematic, dreamlike approach - great events are conveyed in single drawings. There's a beauty in the construction even if the draperies are rotted flesh.
What's interesting to me is that there is an historical precedent for the sort of grotesque tableaux Maruo presents in his work - the 1860s 'bloody prints' known as Muzan-e which detailed murders in graphic fashion. So rather than being shocking for the reasons that any parents' organisation would find enough to call for bans of sale, it could be argued that Maruo's work is part of a lineage; one that's difficult to stomach, but one which hasn't just turned up yesterday.
The reason this work intrigues is because it is both beautiful and terrible. It twangs something inside that frightens you, but it cannot be dismissed for being purely violent (because of the care taken in its execution) while at the same time it can't be cherished as fine art (because of the terribleness of its presentation). It takes the purity of its main character and throws it against the rocks of loss, perversion and degradation to see if she'll weaken. It's a proper descent into Hell, with the chance of a better life continually paraded and snatched away.
It's a real no-man's land, this work, so expect to see some twisted bodies when you explore it. But if you can stomach it, go there.
May 24, 2019
This was disturbing and disgusting and at the end pointless.
I am fully aware that I am not the target audience, this is not the type of story I gravitate towards. I am not at all big on horror genre, I did enjoy the bizarre horror of Junji Ito and the erotic horror of K.M. Claude.
This book has the bizarre and the creepy, too. However I am not a fan of this type of horror. Sensationalized violence and abuse of a minor? I can’t wrap my mind what I did not like here, but I clearly did not like the book.
If I think long and hard I might bump up the rating to two stars. I did like the art, the panel composition is smart, the art style is reminiscent of older manga, I feel like.
If you can’t read about child abuse (physical, emotional, sexual), graphic animal cruelty and body horror, I would not recommend to read this book. If you can deal with the heavier topics, I still would not recommend the book. The book is senseless and dull, once you strip the horror aesthetic to the story bones.
I am fully aware that I am not the target audience, this is not the type of story I gravitate towards. I am not at all big on horror genre, I did enjoy the bizarre horror of Junji Ito and the erotic horror of K.M. Claude.
This book has the bizarre and the creepy, too. However I am not a fan of this type of horror. Sensationalized violence and abuse of a minor? I can’t wrap my mind what I did not like here, but I clearly did not like the book.
If I think long and hard I might bump up the rating to two stars. I did like the art, the panel composition is smart, the art style is reminiscent of older manga, I feel like.
If you can’t read about child abuse (physical, emotional, sexual), graphic animal cruelty and body horror, I would not recommend to read this book. If you can deal with the heavier topics, I still would not recommend the book. The book is senseless and dull, once you strip the horror aesthetic to the story bones.
April 25, 2022
The series is about an orphan girl named Midori, whom is taken in (enslaved) by a traveling freak show. The freak show includes such unsavory characters as a mummyman, a snake woman, and a drooling man with no limbs. The owner of the freak show, the eponymous Mr. Arashi, is a strict man who allows his freaks very little freedom or joy in life. He is especially cruel to Midori. Midori works, not as a freak since she is normal, but as a sort of caretaker of the freaks.
This is pure psychological torture. If I interpreted it correctly, it's supposed to be a criticism of abuse and severe bullying. The book was full of nonstop abuse and torture but there was really no story to be found to add depth to it. It was just a bunch of sickening images flashing across the pages one after the other and then it suddenly ends. It was disturbing and horrific, but ultimately pointless and devoid of much substance.
This is pure psychological torture. If I interpreted it correctly, it's supposed to be a criticism of abuse and severe bullying. The book was full of nonstop abuse and torture but there was really no story to be found to add depth to it. It was just a bunch of sickening images flashing across the pages one after the other and then it suddenly ends. It was disturbing and horrific, but ultimately pointless and devoid of much substance.
June 24, 2009
Not a kind book, but a beautiful one.
February 11, 2008
There's manga and then there's uber-weird MANGA. Suehiro Maruo is a genius as far as I can tell. Super sexual, super violent, and super weird with a very retro style of drawing and coloring, Maruo lets his imagination go wild - and it's scary at times. But one has to buckle in their seat and just go on the wild ride.
And everytime I go to Japan I try to locate more of his books. He's a fantastic artist and it would be great if there was some sort of a retrospective of his work. Either in book form or in a gallery. I think he's an important Japanese post-war artist who works in the manga world.
And everytime I go to Japan I try to locate more of his books. He's a fantastic artist and it would be great if there was some sort of a retrospective of his work. Either in book form or in a gallery. I think he's an important Japanese post-war artist who works in the manga world.
October 12, 2019
2 stars only for the art style because it was stunning. The rest of the manga... Well, it was stupid, disgusting and didn't make any sense.
August 1, 2017
I REALLY enjoyed most the artwork, but man, the sexualization of a 12 year old was difficult to stomach. The tone of the work itself was weird, and I LOVE manga weird, but combining that with the relationship between a midget and a twelve year old made me a bit nauseous. I tried to ignore it and concentrate on the artwork, but when she is constantly about to get raped and shown being stripped and beaten it became pretty evident that I didn't want it in my permanent collection. Which sucks, because the artwork is astounding. But man, can't say I am in a rush to read it again.
This entire review has been hidden because of spoilers.
July 20, 2023
Definito come un manga cult, dal maestro dell'horror erotico-grottesco, come potevo perdermelo?
Così per caso l'altro giorno lo vedo tra gli aggiornamenti di letture qui si GR e m'incuriosisce da subito, anche la copertina ha fatto di tutto per suscitarmi interesse (forse l'unica nota positiva).
Così lo prenoto subito in biblioteca. Lo ritiro ed ecco che le prime risate me le faccio subito appena giro la prima pagina: il timbro e l'etichetta apposta dalla biblioteca al contrario. Ovviamente sfogliato come se non fosse un manga, quindi da destra a sinistra ahahahah :-P
Comunque parto per questo particolare viaggio verso l'horror/grottesco, le aspettative sono alle stelle, così come la curiosità.
Le tavole e le illustrazioni, che le contengono, non sono male, ma alle volte (molte) mi è parso di notare una certa sproporzione, forse voluta, ma con risultati dozzinali, non so... poi anche una buona dose di confusione nei disegni che scorrevano, magari voluti eh, ma davvero mi hanno lasciato con l'impressione di star leggendo un'opera di scarso valore artistico. Per fare un raffronto: ho letto diversi manga di Junji Ito e lì il grottesco è all'ennesima potenza, ma l'effetto è stupefacente!
Poi passando alla storia: beh una storia che sembra essere scritta così tanto per riempimento e senza approfondimento, di certo questo manga non è da annoverare tra le opere poetiche o filosofiche, ma qui non c'è proprio nulla di nulla, se non "trashaggini" di infimo valore e che con un finale banale e soprattutto sconveniente.
Penso il peggior fumetto (e manga, nel complesso qualsiasi opera letteraria illustrata) che io abbia mai letto!
Così per caso l'altro giorno lo vedo tra gli aggiornamenti di letture qui si GR e m'incuriosisce da subito, anche la copertina ha fatto di tutto per suscitarmi interesse (forse l'unica nota positiva).
Così lo prenoto subito in biblioteca. Lo ritiro ed ecco che le prime risate me le faccio subito appena giro la prima pagina: il timbro e l'etichetta apposta dalla biblioteca al contrario. Ovviamente sfogliato come se non fosse un manga, quindi da destra a sinistra ahahahah :-P
Comunque parto per questo particolare viaggio verso l'horror/grottesco, le aspettative sono alle stelle, così come la curiosità.
Le tavole e le illustrazioni, che le contengono, non sono male, ma alle volte (molte) mi è parso di notare una certa sproporzione, forse voluta, ma con risultati dozzinali, non so... poi anche una buona dose di confusione nei disegni che scorrevano, magari voluti eh, ma davvero mi hanno lasciato con l'impressione di star leggendo un'opera di scarso valore artistico. Per fare un raffronto: ho letto diversi manga di Junji Ito e lì il grottesco è all'ennesima potenza, ma l'effetto è stupefacente!
Poi passando alla storia: beh una storia che sembra essere scritta così tanto per riempimento e senza approfondimento, di certo questo manga non è da annoverare tra le opere poetiche o filosofiche, ma qui non c'è proprio nulla di nulla, se non "trashaggini" di infimo valore e che con un finale banale e soprattutto sconveniente.
Penso il peggior fumetto (e manga, nel complesso qualsiasi opera letteraria illustrata) che io abbia mai letto!
May 13, 2021
idk, this was weird, but from how everyone was talking about this (being banned and everything) it was pretty tame. the nasty and reaaally disturbing thing was the pedophilia and the rape. but the rest was pretty amazing art. am i really being desensitized from all this nasty ish? also what did that ending mean? i don't understand
This entire review has been hidden because of spoilers.
April 9, 2021
I read this because this is a popular book. However I didn't enjoy it, not even a bit.
Read
April 25, 2022Genuinely don’t know wtf I just read
March 1, 2025
questo manga rimarrà per sempre tra i miei preferiti in assoluto, il modo grottesco e orripilante di Maruo di raccontare la realtà è davvero something else!!
December 15, 2021
Joder.
May 28, 2012
As a horror story, this is completely unstoppable--there are no "misunderstood monsters", no solution, no outcome with a brighter tomorrow. Even when things are going well, they're kind of fucked. The story, of an orphaned 12 year old girl named Midori in a freakshow in the Japanese countryside, is a bludgeoning tale of abuse heaped upon abuse. Any attempts Midori makes to stand up for herself are only met with more brutal treatment. She finds some respite in the form of a love affair with a dwarf magician,(according to what I looked up, the age of consent in Japan ranges from 13 to 18) but perhaps unsurprisingly for a grown man who takes an interest in a pre-teen, he turns out to be a control freak too.
Maruo's art is always delightfully creepy and unreal, and indeed in the course of the story it's not always clear if Midori is dreaming or simply having a complete psychotic break at times. His freaks are monsters not because of their physical oddities, but because they're all a bunch of sadistic psychopaths. This is not Tod Browning's "Freaks", however much some of the characters may want to believe that.
Maruo's art is always delightfully creepy and unreal, and indeed in the course of the story it's not always clear if Midori is dreaming or simply having a complete psychotic break at times. His freaks are monsters not because of their physical oddities, but because they're all a bunch of sadistic psychopaths. This is not Tod Browning's "Freaks", however much some of the characters may want to believe that.
December 25, 2020
Que pedazo de libro, dentro de la literatura de horror.
Un terror gore dentro de un circo o show de fenómenos. Donde un romance se vuelve perturbador y te lleva a un desenlace sin esperanza y lleno de locura.
¿Para que leer La niña de las camelias?
1. Por que Suehiro Maruo te llena de diálogos feroces y llenos de maldad, donde va a llegar un momento que dirás esto es verdad o es una pesadilla literaria.
2. Los personajes están llenos de maldad y deformidades. Hay momentos que es demasiada explosión de tripas y sesos que no sabes si retirar la mirada y seguir leyendo.
3. La decadencia humana esta reflejada en estas paginas.
Me gustó bastante y hasta me revolvió el estomago. Es un terror gore y psicológico que te va a dejar inquieto. Le puse 3 estrellas, por que el final se me hizo muy abierto.
Un terror gore dentro de un circo o show de fenómenos. Donde un romance se vuelve perturbador y te lleva a un desenlace sin esperanza y lleno de locura.
¿Para que leer La niña de las camelias?
1. Por que Suehiro Maruo te llena de diálogos feroces y llenos de maldad, donde va a llegar un momento que dirás esto es verdad o es una pesadilla literaria.
2. Los personajes están llenos de maldad y deformidades. Hay momentos que es demasiada explosión de tripas y sesos que no sabes si retirar la mirada y seguir leyendo.
3. La decadencia humana esta reflejada en estas paginas.
Me gustó bastante y hasta me revolvió el estomago. Es un terror gore y psicológico que te va a dejar inquieto. Le puse 3 estrellas, por que el final se me hizo muy abierto.
February 16, 2021
This is a re-read. I have a thing for Maruo Suehiro; I don’t like his stories (although I do appreciate them), but I really like his art, disturbing as it is. This one is really neat, both storytelling-wise and as far as graphic violence goes. I’ve read some stuff of his that I regret having picked up, and will never go back to, but this is a favorite of sorts. It’s maybe because I find traveling troupes, street performers, carnivals etc. fascinating.
Objectively speaking though, I cannot recommend this to anyone. It’s one of those pieces of art that choose their audience, not the other way around.
May 3, 2021
Not safe for life, but not in an interesting way. After the first chapter’s relentless dumb parade of horries (stamping on puppies!) it tries to actually say something but it doesn’t make it.
December 10, 2021
Violencia y belleza hecha libro.
October 16, 2025
2 / 5
เป็นมังงะที่หดหู่ไม่ไหว เด็กสาวกำพร้าอายุ 12 - 13 ปีในช่วงสงครามโลกครั้งที่ 2 ต้องมาเจอเรื่องแย่ๆอะไรแบบนี้จากคณะละครสัตว์ที่นำแสดงมนุษย์ประหลาดๆแล้วคนในนั้นก็ทารุณกรรมแบบวิปริตเธอทุกรูปแบบ ไม่ว่าจะทางร่างกาย(โดยเฉพาะทางเพศ) จิตใจ ความคิด ชอบแค่ลายเส้นการวาดของผู้แต่ง เนื้อหามืดมนที่สุด ไม่ไหวจริงๆ disturbing มาก ไม่เหมาะสำหรับอายุต่ำกว่า 18 ปีเลย ส่วนตัวให้คะแนนเพราะลายเส้นล้วนๆ แต่เนื้อเรื่องก็สะท้อนถึงความมืดมนของจิตใจมนุษย์และสังคม
ปล. ไปหาข้อมูลหลายช่องทางบอกว่ามีอนิเมะที่ถูกแบนหลายประเทศด้วย ส่วนตัวหาดูมาแล้ว จะอาเจียนบางฉาก จะไม่ดูอะไรแบบนี้อีกนาน
เป็นมังงะที่หดหู่ไม่ไหว เด็กสาวกำพร้าอายุ 12 - 13 ปีในช่วงสงครามโลกครั้งที่ 2 ต้องมาเจอเรื่องแย่ๆอะไรแบบนี้จากคณะละครสัตว์ที่นำแสดงมนุษย์ประหลาดๆแล้วคนในนั้นก็ทารุณกรรมแบบวิปริตเธอทุกรูปแบบ ไม่ว่าจะทางร่างกาย(โดยเฉพาะทางเพศ) จิตใจ ความคิด ชอบแค่ลายเส้นการวาดของผู้แต่ง เนื้อหามืดมนที่สุด ไม่ไหวจริงๆ disturbing มาก ไม่เหมาะสำหรับอายุต่ำกว่า 18 ปีเลย ส่วนตัวให้คะแนนเพราะลายเส้นล้วนๆ แต่เนื้อเรื่องก็สะท้อนถึงความมืดมนของจิตใจมนุษย์และสังคม
ปล. ไปหาข้อมูลหลายช่องทางบอกว่ามีอนิเมะที่ถูกแบนหลายประเทศด้วย ส่วนตัวหาดูมาแล้ว จะอาเจียนบางฉาก จะไม่ดูอะไรแบบนี้อีกนาน
December 1, 2010
Há duas coisas que me fascinam no manga de horror japonês: a estranheza absurda e surreal do conceito nipónico de terror, tão diferente da nossa sensibilidade, e o espantoso grafismo com que este é ilustrado, normalmente reminiscente do melhor da arte japonesa tradicional.
Este Mr. Arashi's Amazing Freak Show mergulha-nos num circo especializado em aberrações humanas, que vive da curiosidade mórbida que desperta nas populações. Midori, uma jovem orfã e a menos aberrante das personagens, é recolhida pelo circo e forçada a trabalhar como servente. Talvez por ódio à sua normalidade, é brutalizada e abusada pelos aberrantes artistas do circo. Estas viscerais situações dão o mote à obra, que só muda de tom com a chegada de Masamitsu, um anão com estranhas capacidades que parece tirar o circo das ruas da amargura em que se encontra. Cada Cinderella encontra o seu príncipe, e este anão parece ser o príncipe que tirará Midori da vida abjecta em que se encontra mergulhada. Mas quando se aproxima o final aparentemente feliz, a morte absurda de Masamitsu volta a deixar Midori perdida numa paisagem devastada, entregue novamente à mercê das aberrações do circo do fantástico.
Visceral e luxuriantemente ilustrado, este não é um livro para todas as sensibilidades. As atrocidades do horror surreal facilmente chocam aqueles que procuram lógica e finais felizes.
Este Mr. Arashi's Amazing Freak Show mergulha-nos num circo especializado em aberrações humanas, que vive da curiosidade mórbida que desperta nas populações. Midori, uma jovem orfã e a menos aberrante das personagens, é recolhida pelo circo e forçada a trabalhar como servente. Talvez por ódio à sua normalidade, é brutalizada e abusada pelos aberrantes artistas do circo. Estas viscerais situações dão o mote à obra, que só muda de tom com a chegada de Masamitsu, um anão com estranhas capacidades que parece tirar o circo das ruas da amargura em que se encontra. Cada Cinderella encontra o seu príncipe, e este anão parece ser o príncipe que tirará Midori da vida abjecta em que se encontra mergulhada. Mas quando se aproxima o final aparentemente feliz, a morte absurda de Masamitsu volta a deixar Midori perdida numa paisagem devastada, entregue novamente à mercê das aberrações do circo do fantástico.
Visceral e luxuriantemente ilustrado, este não é um livro para todas as sensibilidades. As atrocidades do horror surreal facilmente chocam aqueles que procuram lógica e finais felizes.
August 14, 2022
Sono una grande fan del circo e il freak show non può che esercitare un certo fascino su di me. Il fatto che qui tutto sia solo uno sfondo come un'altro per raccontare una storia di violenze e abusi mi sembra non solo un peccato, ma anche uno dei grandi difetti di questo volume.
Che Maruo Suehiro abbia un'ottima mano e sappia mettere efficacemente una storia su carta non comincia nemmeno a essere un alibi per dover leggere una vicenda simile. Per come la vedo io un bel segno senza una sceneggiatura all'altezza rimane come un guscio vuoto che non ho intenzione di riaprire.
Letto nell'ottima edizione italiana di Coconino press.
[1.5 arrotondato per eccesso]
Che Maruo Suehiro abbia un'ottima mano e sappia mettere efficacemente una storia su carta non comincia nemmeno a essere un alibi per dover leggere una vicenda simile. Per come la vedo io un bel segno senza una sceneggiatura all'altezza rimane come un guscio vuoto che non ho intenzione di riaprire.
Letto nell'ottima edizione italiana di Coconino press.
[1.5 arrotondato per eccesso]
March 21, 2016
This was so twisted. Loved it. Made my guts crawl inwards and my brain shudder in skull-shattering quakes. Doesn't get a 5 because the plot was pretty much pointless. The artwork and grotesqueness made up for it though. Recommended to anyone that wants to undergo severe mental strain.
"I just want to go home."
"I just want to go home."
November 12, 2021
I read it because the anime is banned in Japan. The artwork is at times beautiful and then disturbing. The story is particularly upsetting because Midori is only 12 and depicted sexually and being attacked. The ending is particularly horrifying
May 7, 2016
yeah....no....I love horror; I love mangas; and the drawings were really creepy...but I could not stick with the story. I was just not in it.
Want to read
June 21, 2016FALSE
February 12, 2021
mmmmmmmmmm...... ending didn't really make sense honestly
March 16, 2022
Very good art and an interesting concept but nonsensical and taboo without reason storytelling
February 19, 2023
"I don't want to go anywhere. I just want to go home!"
Faz alguns meses que assisti o filme de "Shoujo Tsubaki" pela primeira vez, pelas mãos de Hiroshi Harada, um diretor que ganhou minha admiração após meu contato com esse trabalho. Não deve ser fácil animar uma história como essa, que, ao mesmo tempo que causa tanta repulsa (eu mesma, que tenho estômago forte, acreditei que não conseguiria passar dos sete minutos), provoca tanto fascínio, e ele foi capaz de transpor para as telas, com muita fidelidade, em todas as suas imagens grotescas e emoções desoladoras, repletas de asco, esta obra-prima.
Não foi mais fácil ler "Shoujo Tsubaki" do que assistir ao filme. Acreditei que seria, e não poderia estar mais enganada. No entanto, Harada fez um trabalho tão impecável em sua adaptação que, lendo a história, agora diretamente de seu autor, Suehiro Maruo, a quem também muito admiro pela coragem de prosseguir no gênero Ero Guro, eu fui capaz de sentir exatamente as mesmas sensações de quando vi a obra em movimento, e o sentimento que tive durante toda a história permeou meu coração com nojo, raiva, desespero e, por fim, um enorme desalento, exatamente como Midori, abandonada em um lugar para o qual não se sabe como foi, e muito menos como será possível um caminho para sair dali, voltar a qualquer outro espaço que possa chamar de lar.
Acho interessante, sobretudo, a maneira como vejo muitos personagens japoneses agradecendo pela estadia, ainda que ela tenha sido um show de horrores. O terror, aqui, também é comportamental: uma criança abusada por todos aqueles que deveriam zelar pelo seu bem-estar, uma vez que são parte da sociedade, mas que também estavam vivendo em condições desumanas, sem nenhuma capa de humanidade que eles mesmos se dessem ao trabalho de usar. É impossível gostar de qualquer personagem aqui dentro, com exceção da própria Midori, que só queria voltar para casa, estar com seus pais - que não estavam mais lá. Este é o mundo de maior desesperança que já li em um Ero Guro. Agora que tive contato com suas páginas, ainda me pergunto, tendo em mente o ponto-chave da história, um dos melhores finais que já tive a oportunidade de presenciar como leitora: o que aconteceu, afinal?
Faz alguns meses que assisti o filme de "Shoujo Tsubaki" pela primeira vez, pelas mãos de Hiroshi Harada, um diretor que ganhou minha admiração após meu contato com esse trabalho. Não deve ser fácil animar uma história como essa, que, ao mesmo tempo que causa tanta repulsa (eu mesma, que tenho estômago forte, acreditei que não conseguiria passar dos sete minutos), provoca tanto fascínio, e ele foi capaz de transpor para as telas, com muita fidelidade, em todas as suas imagens grotescas e emoções desoladoras, repletas de asco, esta obra-prima.
Não foi mais fácil ler "Shoujo Tsubaki" do que assistir ao filme. Acreditei que seria, e não poderia estar mais enganada. No entanto, Harada fez um trabalho tão impecável em sua adaptação que, lendo a história, agora diretamente de seu autor, Suehiro Maruo, a quem também muito admiro pela coragem de prosseguir no gênero Ero Guro, eu fui capaz de sentir exatamente as mesmas sensações de quando vi a obra em movimento, e o sentimento que tive durante toda a história permeou meu coração com nojo, raiva, desespero e, por fim, um enorme desalento, exatamente como Midori, abandonada em um lugar para o qual não se sabe como foi, e muito menos como será possível um caminho para sair dali, voltar a qualquer outro espaço que possa chamar de lar.
Acho interessante, sobretudo, a maneira como vejo muitos personagens japoneses agradecendo pela estadia, ainda que ela tenha sido um show de horrores. O terror, aqui, também é comportamental: uma criança abusada por todos aqueles que deveriam zelar pelo seu bem-estar, uma vez que são parte da sociedade, mas que também estavam vivendo em condições desumanas, sem nenhuma capa de humanidade que eles mesmos se dessem ao trabalho de usar. É impossível gostar de qualquer personagem aqui dentro, com exceção da própria Midori, que só queria voltar para casa, estar com seus pais - que não estavam mais lá. Este é o mundo de maior desesperança que já li em um Ero Guro. Agora que tive contato com suas páginas, ainda me pergunto, tendo em mente o ponto-chave da história, um dos melhores finais que já tive a oportunidade de presenciar como leitora: o que aconteceu, afinal?
February 26, 2025
My first real manga- a genuine masterpiece. Does anybody ever feel either disappointed or relieved to wake up, and never something in-between?
Listened to Boris - Flood 2 on loop for about an hour and a half after this #cringe
Listened to Boris - Flood 2 on loop for about an hour and a half after this #cringe
March 7, 2021
Potentísimo. Lleno de sentido y nada gratuito (que era mi temor).
10/10
10/10
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