La Blue Girl

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La Blue Girl
Original title ラ ・ ブ ル ー ・ ガ ー ル
Manga
country JapanJapan Japan
author Manabu Kaminaga
Illustrator Toshio Maeda
publishing company Leed-sha
First publication 1989-1992
expenditure 6th
Original video animation
title Inju Gakuen
Original title 淫 獣 学園
Country of production JapanJapan Japan
original language Japanese
year 1992
Studio Daiei
length 45 minutes
Episodes 4th
Director Kan Fukumoto, Raizo Kitazawa
music Teruo Takahama
synchronization
Original video animation
title Shin Injū Gakuen
Original title 真 ・ 淫 獣 学園
Country of production JapanJapan Japan
original language Japanese
year 1993
Studio Daiei
length 45 minutes
Episodes 6th
Director Kan Fukumoto, Raizo Kitazawa
music Teruo Takahama
synchronization
Movies
► Injū Gakuen EX (1996)

La Blue Girl ( Jap. ラ·ブルー·ガール , Ra Buru Garu , blue meaning "indecent, obscene". See blue movie = porn film) is a Six band Hentai - Manga of manga artist Toshio Maeda , published from 1989 to 1992 . The pornographic work is about a ninja girl who uses sex techniques to fight demons.

The manga was translated into several languages and several times under the title Inju Gakuen ( 淫獣学園 than) Anime implemented and live action, and there is video games and art books . In addition to its classification in the hentai manga, the work is also often characterized by the tentacle sex scenes it contains.

content

The schoolgirl Miko Midō ( 美 童 巫女 ) and her sister Miyo are, on their mother's side, heirs of the Miroku ninja clan. Her father is a demon and ruler of the Shikima , a perverse type of demon. In disputes with foreign clans, in addition to the usual sword fighting, "sex techniques" are also repeatedly used. With these, the one who gets an orgasm first during the sexual act is subject to. The demons were once controlled by the Miroku clan, but some of them are no longer under a spell and revolt after the clan's magical artifact is stolen. Rallied around a new leader, they kidnap Miyo into a parallel world in order to turn her into a sex slave. Through masturbation , Miko succeeds in following her into this world as well, together with the dwarfish, voyeuristic ninja nin-nin, who is actually completely incapable and yet always gives crucial assistance. There she can first defeat the leader in the sexual act and free her sister.

Then the demon, believed dead, appears again and kidnaps the female volleyball team from her school. In the world of Shikima, he uses the artifact to freeze the actual ruler and father of Miko. At the same time, with the involuntary help of Miko's mother, he tries to tear down the borders between the two worlds. So Miko goes again with her sister and Nin-Nin to Shikima to free her parents there. Some ninja from a foreign clan get in their way, which Miko can eliminate with ease. Not least because she is a futanari and her clitoris can swell to a kind of penis, which is of great help to her especially in the fight against the female ninja. Back in the normal world, Miko has to discover for the first time that she has the blue blood of a Shikima in her.

This is followed by further adventures with battles against demons, other clans and aliens. In some adaptations, the girl Yaku appears instead of Miyo. She has similar traits, but is not Miko's sister. Both turn into a werewolf if they have sex without orgasm during the full moon. Among other things, this is an allusion to the historical ideas about futanari - people who change their sex according to the moon phase.

publication

The manga was published from 1989 to 1992 by Leed-sha in six Tankōbon in Japan. Bdérogène published five volumes of the manga in France in 2003, Central Park Media published the six volumes in English from 2002 to 2004.

Adaptations

Original video animation

The first adaptation of the manga was the four-part original video animation Injū Gakuen ( 淫 獣 学園 ), which was released on VHS in Japan from 1992 to 1993 . Each episode was 45 minutes long and directed by Kan Fukumoto and Raizo Kitazawa. Kinji Yoshimoto as character designers and Megumi Kitazawa and Toshio Maeda as writers were also involved in the production of Daiei . The music was composed by Teruo Takahama , the end credits of the episodes were accompanied by the songs Good-by Lonely Day and Lost Love by Atsumi Matsuzaki and Teruo Takahama, as well as Unmei no Page ( 運 命 のpage ) by Noriko Noguchi and Teruo Takahama. The same team also produced the two-part sequel, which was released in 1993 under the title Shin Injū Gakuen ( 真 ・ 淫 獣 学園 ). All six parts were also published in English by Central Park Media.

When the OVA was published in the USA, the Japanese censorship points were removed, revealing half-finished genitalia that were actually never supposed to be shown. This gave the impression of underage protagonists, which led to complaints.

In 1996 an OVA was released with the four-part Injū Gakuen EX , which continues the anime, but is no longer based on the manga. This was followed in 2001 by another sequel under the title Injū Gakuen Fukkatsu-hen .

synchronization
role Japanese speaker ( seiyū )
Miko Mido Grandma Minami
Nin-Nin Kappei Yamaguchi
Yaku May asakura
Miyu Mido Mirei Asaoka

Real films

The manga was the template for three real-life films, all of which are also pornographic:

Books

In the United States, Central Park Media published two volumes of a comic book adaptation by Matt Lunsford and José Calderon in 1997 and 1998. Several anime comics have also been published. The first of the two volumes was published by BDérogène in France in 2001.

In addition, four published art books : the book Graffiti contains screenshots from the first four OVA parts. In no Shō and Yō no Shō offer illustrations and screenshots from the animes La Blue Girl and Lady Blue . Yōjū Kyōshitu is an art book for the first video game.

Video games

At La Blue Girl appeared two games, both with the title of the manga. The first was released for the NEC PC-9801 and FM-Towns consoles and is based on the first volume of the manga. The second game for Windows 95 adapts the plot of the OVA La Blue Girl EX .

Analysis and interpretation

According to Susan J. Napier , the series portrays the female roles as more powerful than is often the case in pornographic works. Both ninjas draw their strength from their sexuality, from the sex fighting techniques or, like Yaku / Miyu, from the transformation into a werewolf. But in other situations in the narratives their sexuality becomes weak when they surrender to it. The female body is also represented on the one hand as an object controlled and used by the man or as uncontrollable by the woman, on the other hand as a means of resistance and power. In this way, both of them become victims of their sexual pleasure, which gets them into trouble and thus are punished for their behavior and abilities by the course of the act. Napier sees no display of male dominance in the anime, as Miko can triumph over her tormentor. But in the end, both men again subordinated themselves when Yaku meets a boy from the village and harasses Nin-Nin Miko again. In the sword Zipangu, an opponent of the two ninja sisters, Napier sees an embodiment of androgyny . The sword itself is phallic and arouses a demon, but it takes on the desire of women and is so full of feminine lust. It is precisely this androgyny that makes Zipangu the most unpredictable opponent.

Napier counts the work to those who build on the principle of the matsuri , festive, the Japanese culture . It follows Ian Buruma's definition of matsuri as the "primitive, obscene and consistently violent side of Japanese culture" . In some cases there are also influences of the elegiac principle, for example in the background and emphasis on the Japanese origin of the series. The power of transformation represented by Miyu / Yaku is an important element of Japanese high and folk culture. Some elements of the plot are also typical elements of Japanese pornography, such as a scene showing both sisters in a public bathroom, or voyeurism , which has been an important element of eroticism in Japanese culture since the 10th century. Nin-Nin corresponds to the cliché of the lustful but funny voyeur. With his sexual desire, he is a figure of identification for the viewer who, like the voyeur, seeks sexual arousal and, like Nin-Nin, is possibly frustrated about his own sexual failure. Opposite the comic figure is the demonic part, which in La Blue Girl is mainly taken over by Zipangu. He lives out his sexuality unscrupulously on his opponents. As is often the case in anime, this powerful male character is not a human, but a supernatural, demonic figure. The tentacles or demonic phalluses replace human ones. It was allowed to show these at the time of production, but the representation of male genitalia was still highly controversial, so that it was often bypassed.

reception

The series is often mentioned for its tentacle sex scenes. According to Patrick Drazen, the young appearance of the protagonist, even though she is 19 years old, has repeatedly brought it close to child pornography . He assigns La Blue Girl to the hentai series, which also contain a large amount of horror and in this way also often depict sexual fears. Nevertheless, for the two sisters, sex primarily means joy and not, as in other horror hentai such as Legend of the Overfiend , sin, punishment or the cause of punishment.

Jason Thompson sees a mix of simple but successful elements of anime and manga in the manga: magical girls , ninjas and tentacle monsters as well as regular sex and rape. The plot is absurd, but quite sophisticated for the genre. Nevertheless, the plot usually boils down to the fact that the ninja sisters use a new sex ninja technique to defeat the opponent. The drawings are kept very realistic, but the facial expressions of the figures often seem emotionless and posed.

According to Susan J. Napier, La Blue Girl is one of the pornographic works in Japan that no longer only show women in a passive role, but also as powerful individuals. The anime is not implemented as brilliantly as the compared Wicked City , but offers a complex and rousing storyline. With the metamorphoses of Yaku, the series contains nightmarish scenes.

literature

  • Susan J. Napier: Animate from Akira to Princess Mononoke. Experiencing Contemporary Japanese Animation. Palgrave, New York NY 2001, ISBN 0-312-23863-0 (English).
  • Patrick Drazen: Anime Explosion! - The What? Why? & Wow! of Japanese Animation. Stone Bridge Press, Berkeley CA 2003, ISBN 1-880656-72-8 (English).

Individual evidence

  1. ↑ a b Gilles Poitras: Anime essentials: every thing a fan needs to know , p. 51. Stone Bridge Press, 2005.
  2. ↑ a b Jason Thompson: Manga. The Complete Guide , p. 455. New York 2007, Del Rey.
  3. ↑ a b Napier, 2001, p. 70
  4. ↑ a b Drazen, 2002, pp. 70 ff.
  5. ↑ Jonathan Clements, Helen McCarthy: The Anime Encyclopedia. Revised & Expanded Edition p. 351. Berkeley 2006, Stone Bridge Press.
  6. ↑ a b Napier, 2001, p. 65
  7. ^ Napier, 2001, 71 f.
  8. ↑ a b Napier, 2001, 75 f.
  9. ↑ a b Napier, 2001, p. 82 f.
  10. ^ Napier, 2001, p. 69.
  11. ↑ a b Napier, 2001, p. 77 f.
  12. ↑ Drazen, 2002, p. 61

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