Kirara

Kirara may refer to:

List of Inuyasha characters

The Inuyasha manga and anime characters are created by Rumiko Takahashi. Most of the series takes place in a fictional version of Japan's Warring States period with occasional time-travel/flashback elements to modern Tokyo or the Heisei period. The setting and plot incorporate many elements of traditional Japanese folklore and religion; its main characters (both protagonists and antagonists) include a Shintō priestess, a Buddhist monk and several types of yōkai (usually rendered as "demon" in English-language translations of the series).

The story begins with Kagome Higurashi, who, after being pulled down a well by a demon, finds herself in the Warring States period of feudal Japan, where she learns that a powerful jewel known as the Shikon Jewel has been reborn inside her body. After the jewel shatters in an attempt to retrieve it from one of the many demons who are after its power, Kagome joins forces with the half-demon Inuyasha—also after the jewel's power—to track down the Shikon shards before the demon lord, Naraku uses it.

Kirara (manga)

Kirara (きらら) is a manga series by Toshiki Yui first published in 1993 by Shueisha. It was later adapted as an original video animation (OVA) in 2000.

It was licensed in French by Panini Comics.

Plot

Kirara Imai is a young woman who, running late for her wedding, speeds in her car and dies in a car accident. Without understanding why, she finds herself transported eight years into the past, as a ghost. Kirara keeps her appearance, but can move through the air and can pass through walls at will. Kirara finds Kompei, her future fiance, and the Kirara of that time, who at that point are not a couple yet. The ghost Kirara cannot accept her separation from Kompei and tries to keep him to herself, at the expense of her past self.

Reception

In the French Dico Manga, Nicolas Finet described Kirara as a comedy of manners, full of light and uplifting situations, and of misunderstanding and entanglements. He added that its distinct undressed dimension was certainly a part of this works' commercial success in Japan. M. Natali commented in Bd Gest' that the art as well as the layout is in the usual vein of this kind of shōnen with the readers' attention obviously and mostly focused on fanservice in the form of close shots on underwear and buxom busts that populate the pages but regretted the lack of sensuality. The review concluded as a title far from unforgettable but pleasant with a zesty naughtiness.