In this horror anthology, Shinozaki played Yuna, a girl who uses a cursed notebook to manipulate her crush.
Mio's storylines, on the other hand, tend to explore themes of love, loss, and self-discovery. Her relationships, whether romantic or platonic, are deeply emotional and contribute significantly to the overall narrative. Mio's interactions with other characters, including Risa, add depth to her character and the story.
As of 2024-2025, both actresses have aged out of peak gravure and moved into different spheres. Onodera has pivoted to fitness influencing and dramatic theater. Shinozaki has reduced her output, focusing on photography books rather than video. Risa Onodera- Mio Shinozaki - Perfect Sex Slave...
What is the status of their relationship? Public appearances together are rare. However, in a 2024 podcast interview, Onodera was asked about her best on-screen kiss (she had one in a stage play with a male actor). She laughed and said, "My best romantic scene wasn't a kiss. It was waiting for Mio to turn around. She never did. That was the scene."
Shinozaki, for her part, posted a photo of a single camellia flower on her Instagram story last Valentine’s Day—the same flower from Two Sides. No caption. No tag. In this horror anthology, Shinozaki played Yuna ,
The fan theory: They are not a couple. They have never been a couple. But they have built a 10-year fictional relationship so consistent, so emotionally coherent, that it functions as a parallel universe. Their storylines are a shared novel they write with their bodies and their silences.
Risa's storylines often focus on her romantic interests and friendships. Her cheerful nature makes her approachable, and she finds herself in various romantic situations. The game and anime allow players/viewers to explore different paths, including those that focus on Risa's romantic interests. Shinozaki has reduced her output, focusing on photography
In 2019, they released a dual-DVD set titled Two Sides. This was a narrative experiment: two parallel short films. In Shinozaki’s film (Side A: Memory), she plays a chef whose girlfriend has left her. The girlfriend is never shown, but she wears a hairpin identical to one Onodera wore in a previous photoshoot.
In Onodera’s film (Side B: Future), she plays a florist waiting for a mysterious woman (Shinozaki) who visits every Thursday. They never touch. They never confess. Onodera simply arranges a bouquet of camellias (which, in Japanese flower language, mean "perfected loveliness" and "a modest heart").
The romantic storyline here is one of absence. The "relationship" exists in the negative space. The two characters are clearly past lovers (Side A) and potential future lovers (Side B), but the films are structured so you never see them in the same frame. This experimental approach elevated their partnership from "gravure idols playing house" to something resembling art-house cinema about sapphic longing.