Kyoko Okazaki

Kyoko Okazaki (岡崎 京子) is a Japanese manga artist.

Kyoko Okazaki was born in 1963 in Tokyo.

Her father was a hairdresser and held a large drawing room.

She lived in the house in a family extended to fifteen people, including grandparents, uncles and aunts, cousins, and apprentice hairdressers.

Okazaki often wondered what the family and the home can represent in these conditions.

She recounts that while living in a happy and peaceful environment, she was not able to feel at ease in this large family.

Her work was discussed in academic literature for breaking the norms of shōjo manga of the 1970s with depictions of female sexuality as well as for capturing the zeitgeist of her native Tokyo at the time of writing.

During her career from the mid-1980s until the mid-1990s, she published her work in seinen manga magazines, josei manga magazines as well as fashion magazines.

Okazaki focused her work on contemporary urban life in Tokyo during the time that Japan witnessed an economic downturn in its transition from bubble economy of the 1980s to the Lost Decade of the 1990s.

She is often credited with capturing the zeitgeist of Japanese society at the time her work was published.

Over the course of her work, she shows the shift of Japan to a more individualist rather than collectivist society.

According to Masanao Amano, her storytelling tries to evoke the feelings loneliness and emptiness that were characteristic for the time.

The main characters in some of her works such as Kuchibiru kara Sandanjuu and Tokyo Girls Bravo are bold, full of emotional expression and freewheeling, holding unconventional sets of values.

In 1983, while studying at Atomi University, Okazaki made her debut as a professional manga artist with the short story in Manga Burikko, an erotic hentai manga magazine primarily aimed for adult men.

She published several more short stories in the magazine.

In 1985, after graduating from college, she published her first manga series Virgin, and in 1989, she wrote Pink, which is about an office worker in her early 20s who works as a call girl at night in order to help support her pet crocodile.

This work firmly established her reputation as a manga artist.

Okazaki also worked on the series Tokyo Girls Bravo, which was published in CUTIE, a mainstream Japanese fashion magazine aimed at teens.

Okazaki has also worked as a fashion illustrator herself.

She produced around 20 volumes of manga, the most famous being Pink (1989), River's Edge (1993-1994) and Helter Skelter (1995).

While previously, shōjo manga magazines would not publish Okazaki's work, in the 1990s new manga magazines with an older female audience appeared, such as Feel Young and Young Rose.

She mainly worked for these magazines from then on.

The protagonists, especially in her later work in the mid-1990s, on the other hand such as Yumiko in Pink and Ririko in Helter Skelter carry feelings of doubt and regret that overshadow their life choices.

According to Takeshi Hamano, her characters are typically described as "material girls".

They are "daring to choose for, and express, themselves as they inexhaustibly consume goods and even bodies, only to find themselves lost and full of doubt and regret in the succeeding 'flat culture' where people’s lives are more individualized and distinctions between high and low cultures are blurred."

She works with intertextuality in her work, making many references to popular culture.

Okazaki includes trends and jargons of the time as well as references to films, novels, pop music and contemporary philosophical ideas.

In 1992, she released Happy House, which is about a 13-year-old daughter of a television director and actress, who are often too busy to care for her children.

When the teenager faces the possible divorce of her parents, she does not want to live with her father or mother, because she feels that she cannot be happy with either one of them.

Instead, she dreams of leaving her home to live alone and earn her own money so she can emancipate herself from her parents.

From 1993 to 1994, she did a serialization called River's Edge and portrayed the conflicts and problems experienced by high-schoolers living in a suburb in Tokyo.

This series had a big influence on the literary world.

In 1994, Okazaki put on a solo exhibition at the grand opening of the experimental art space, P-House, in Tokyo.

From 1995 to 1996, she worked on Helter Skelter, which features a beautiful model, Ririko, whose body underwent a total cosmetic surgery, and illustrates the accelerating derailment of her success.

Here, Okazaki exposes with much reality the obsession, jealousy, and deprivation caused by the desire to acquire “beauty” and the overpowering economic and commercial circumstances surrounding such desire.

Since an accident in 1996, she has not published new work.

In May 1996, Okazaki was hit by a drunk driver and sustained severe injuries.

She was in a coma for an extended period and needed to regain the ability to speak.

She has not published new work since.

Helter Skelter was serialized in Shodensha's monthly Feel Young magazine at the time of writing and published later as a single tankōbon volume in 2003.