Bloom into You Vol. 6 (Bloom into You (Manga))

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Bauman pointed to many narrative elements, such as the school play plotline and Sayaka's attraction to Touko, as imitative of other series such as Maria-sama ga Miteru and Strawberry Panic! In a conversation with Riddle Story of Devil creators Yun Kōga and Sunao Minakata, she concurred with Kōga's statement that yuri is about "girls getting involved with other girls," adding the qualification that it is "feelings between girls.

But Touko is struggling with the legacy of her deceased older sister and escaping her shadow (self imposed as it is) and Yuu is suddenly having feelings and sensations she's never had before. The ending animation, which Kato described as simpler and more straightforward, was based on an illustration from a cell phone case that was sold as merchandise for the manga. They discuss how Touko has changed, but Touko is pleased that Yuu has stayed the same and kept her promise of not falling in love with her. Rebecca Silverman of Anime News Network gave a generally positive review to the manga's first volume, saying that the potential of Yuu being asexual made the story more interesting, as "it offers something by way of representation that could be recognizable to an underrepresented group and set this title apart in its genre. Describing the series as having “…Adorable artwork and [a] charming love story,” Seven Seas Entertainment announced its licensing of the manga for English release in North America on February 14, 2016.Kato assured Nakatani that he cared about the original manga and wanted to create a faithful adaptation, assuaging her concerns. At the time of writing the script, the chapter where Yuu and Touko visit an aquarium together had not yet been published, but Nakatani presented the plans for that chapter to Hanada, and they agreed to make it the ending of the anime. Suguru Doujima ( 堂島 卓, Dōjima Suguru) Voiced by: Shō Nogami (Japanese); Greg Cote (English) [16] Doujima is a first-year high school boy and a member of the student council. After Yuu flees, Touko reflects on her fear of love, but tells herself Yuu is still the same kind person and being in love with Touko does not mean she has ulterior motives or expects her to be a certain way. Bauman agreed with Henderson, additionally praising Sayaka's story in the light novel spinoff series, and describing Riko and Miyako as "queer adult figures guiding the next generation".

The volume ends on a distressing note, but I'm confident that they'll be able to work through this and so looking forward to reading about it. Asked to help out with her school's student council, Yuu Koito comes across student council member Touko Nanami turning down a confession, stating she does not intend to go out with anyone. Despite being nervous herself, Yuu manages to pull off her campaign speech while also announcing her intention to join the student council, resulting in Touko winning the election. The manga is currently published in Japanese, English, Korean, Traditional Chinese, Simplified Chinese, Thai, French, Italian, German, Spanish and Vietnamese. Speaking to Miyako alone, Sayaka learns that she and Riko are dating each other and confides with her about her feelings for Touko.

Deciding to rehearse the play with her, Yuu indirectly tells Touko that she doesn't have to force herself to become someone else. Kato had previously worked as an assistant director for Re:Creators, and debuted in the lead directorial role on the anime adaptation of Beautiful Bones: Sakurako's Investigation, [19] [35] which Nakatani had seen prior. Following the release of the novels, Nakatani said that Iruma's writing had influenced how she wrote Sayaka, particularly her confession to Touko in the 37th chapter.

In Neo, Alex Jones wrote that while Yuu's feelings may at first appear aromantic, further developments in the narrative rather suggested that she was demisexual. In spite of this, she praised how Nakatani broke from the tradition of "transitory same-sex love" established by Class S stories in depicting Yuu and Touko having sex and becoming a couple in adulthood (although she noted that Kisses, Sighs, and Cherry Blossom Pink and Kase-san had already similarly broken from this convention). We need mirrors for those in the asexual/aromantic community, we need portrayals in the media, and we need them to be honest explorations of the differences between romance and sexuality. Bauman felt that Yuu's early failure to reciprocate Touko's attraction was attributed to a "character fault" rather than an expression of any non-standard romantic orientation. From there, Nakatani developed Yuu as the type of girl who she imagined would be able to help and eventually come to love Touko.Friedman also disliked the straightforward romance plot, feeling that the possibility of Yuu being asexual or aromantic was not considered. Later, while walking together, Touko thinks about how she never wants Yuu to change, because she fears if Yuu does then Touko wouldn't love her anymore and go back to being lonely. Kato intended the opening, which he described as reflecting the "dual nature" of the characters, to feel similar to a music video, particularly in how he confined its setting to a single location.