Midori
Betrayed and disgraced, big-city reporter Kazuya Mizuno is banished to a desk at Kaname's boring little town newspaper. But Kaname isn't as boring as it seems on the surface. Not with characters around like Shimeko, a girl genius with a childlike lack of propriety, and her ace fisherman/folk-singer dad. Or the overbearing and unpleasant local Shinto priest, a former Christian cultist. Or Endo, Kazuya's new colleague, a bitter drunk after his son's suicide. Or Kin, a former terrorist, now a hermit on his boat engaging in secret "research." Or perhaps most importantly Teruko, the hypnotically beautiful bar owner, the focus of all manner of innuendo and intrigue. Something mysterious, even mystical, is going on Kaname, and hapless Kazuya is about to be thrown into the middle of it.
Kamei mixes humour, drama and, in this occasion, bits of horror to visualize the physical transformation in yôkai that the three main actresses undergo. Mihiro Iwasaki (Anri Ban) is a model extremely preoccupied by how others look at and think of her. Then, her nails start growing disproportionately until they become killing weapons. Michiko Yamane (Mariko Miyamitsu) is an unsociable university student and part-time worker in her early twenties only crazy for a hobby. At night she becomes a rokurokubi (female yokai with an extremely long and flexible neck). Finally, Mana Saeki (Haruki Ichikawa) is a last year junior high school student with a very bad character and very distrustful of all her friends, who metamorphoses into a nopperabo (yokai without face).
