Yumiko moonlights as a call girl because her day job doesn't pay enough to feed her pet Croc. Haru an aspiring writer who has nothing to say, sleeps with a woman his mother's age not just for the money but to work on his "powers of observation". So when Yumi's step-mom turns out to be Haru's sugar-mommy, it is time for shenanigans. A little bit of drinking, a little bit of blackmail and a visit with Croc is enough to change lives and maybe add some color to a comfortable but bland life.
I donít pretend to know the cultural zeitgeist that went on in Japan during its "Bubble" years, when the Japanese economy took the people there to untold heights. However as I understand it, in the doing the people there were unprepared with what to do once they reached the top and were also unprepared for the fall from grace that happened after. Kyoko Okazakiís PINK is a look at a time when Japanese people were at a crossroads and came out of the choice of which direction to take and left wanting. Seemingly about a call girl called Yumi who also works as an office lady, it is really more about the story of she and the people in her lives who represent the past, present and future of the nation.
Yumi is a capricious creature, fickle and emotional at the same time, who lives in an apartment paid for by her father. She supports herself in every other way working as an office lady by day and a call girl by night. Along the way, sheís made an enemy of her step-mother, a friend out of her half sister Keiko and found a lover in the form of her motherís toy boy. Quite how Yumiís managed for people not to kill her all these years is nothing short of amazing. She makes frequent requests of people that are outlandish, rude and often contradictory. She keeps tropical plants in her apartment and owns a real crocodile.Yet her office life is a world away from the tawdry existence she enjoys as a call girl. She is demure, likable and quiet. This is an amazing duality in a character where there seems to be no need on the author's part to have the two worlds collide. Instead, Okazaki has the conflict and drama happen behind closed doors.
The other characters are people in their own right but they all know each other through their association with Yumi. Haru is a failed novelist whoís never written a novel. Heís in a relationship with Yumiís stepmother who is simply using him for sex and nothing more. So when he meets Yumi, she, upon meeting him, literally drives him to distraction and almost gets him eaten in the process. But thereís something about Yumi that Haru canít stop thinking about. Even when she ruining his life, he either canít help himself or heís brow beaten into being with her. Keiko is her confidant and her co-conspirator. She loves her big sister and doesnít see the fact that they have different mothers. So she is frequently in Yumiís life and hangs out whenever she can. Of course, there has to be a villain in a story like this and thatís the stepmother. The tragedy of her character is that she gained her husband by him cheating on his wife and now sheís cheating on him with a younger man. For the most part, the two women, Yumi and stepmother, try to avoid each other. The amount of loathing involved could sink a battleship, itís that heavy. Anyway, when Yumi becomes involved with Haru, all hell breaks loose and the stepmother sets in place a chain of events that will alter Haru and Yumiís relationship and bring about the end of some of the more stable and static parts of Yumiís life.
Where Pink! succeeds (or fails if you think differently) is in its frank depiction of Yumiís life, including all the parts that normally we shouldnít see. We hear her monologues as she shops, talks with people, cleans around her apartment and yes, even when she has intercourse with her clients. In fact, I might be so bold as to say that Yumiís at her most honest when sheís on an assignation ( In truth, the jobs aren't really assignments from Yumi's madam because Yumi treats her clients as interactive interests rather than just money. )with her clients as her monologue is honest, insightful and unpretentious. When sheís in the company of others, she entertains ideas that would never work and even she dismisses them after a moment or two. In a way, Yumi shows what is right and wrong with Japan at the time. On one hand, she has sex for money and therefore could be seen as abandoning what would have been considered proper behaviour for a young woman her age and on the other, she is forging her own identity and frequently has notions of being in a better place than where life has placed her. Sadly, as the manga draws to close, we find that there is a huge price to be paid for such happiness as what she has been allowed to have up to that point. Thus, we complete Okazakiís master stroke. Yumi IS Japan or at least how Japan was at the end of the Bubble. Yumi didnít care where the party was going in her life, didnít notice that her actions could have an effect of her and her loved ones and doesn't know who's going to pay for the party. By the end of the story, I felt sorry for Yumi. With such an outlook on life, I wanted her story to be better. But even the ending is hopeful, full of questions about her future.
Okazaki's art is simple and more comedic in nature than serious. The scenes that I loved the most for their art were the dinner dates Yumi, Haru and Keiko have with each other both as a group and in separated groups. The artwork makes it feel like you are in the room as they eat and talk. Structurally, I loved as Yumi goes from easy going call girl to domestic goddess and finally born again adventurer. It's an easy transformation to watch and makes her dialogue and actions much more sublime. It helps that the artwork has lovely bold lines that makes the subjects jump off the page rather than get bogged down in unnecessary complication. (Please note, I checked and Yumi's father and stepmother are not referred to anywhere by name that I could find)
I enjoyed this manga and would recommend it for people who were looking for an adult, mature look at how the choices a person makes can be multiplied to be the choices a nation makes.