Resine de Poisson (レシーヌ・ド・ポアッソン, Reshīnu do Poasson) enrolls at a Catholic all-girls boarding school in France formerly attended by her late mother, where she is roomed with the rebellious Simone D'Arc (シモーン・ダルク, Shimōn Daruku).

Class S stories were regularly published in shōjo publications and kashi-hon (rental books), notably Hana Monogatari (1916–1926) by Nobuko Yoshiya and Sakura Namiki (1957) by Macoto Takahashi.

Ribon Comic targeted a readership of girls aged sixteen and older, primarily published new and relatively unknown authors, and had an editorial focus on self-contained short stories that frequently addressed social issues.

[14] Kadokawa Shoten included Shiori Heya no Futari in volume 28 of their series of Yamagishi's complete works, published under the Asuka Comics Special imprint on March 4, 1988.

[19] Manga critics Yoshihiro Yonezawa and Yōji Takahashi consider Shiroi Heya no Futari to be typical of the "radical" social issue-focused output of Ribon Comic.

Yonezawa notes that the manga deviates significantly from Yamagishi's subsequent editorial output, more closely resembling shōjo shōsetsu (girls' novels) and the works of author Nobuko Yoshiya.

[20] Yuricon founder Erica Friedman writes that she appreciates the "hyper melodramatic" aspects of Shiroi Heya no Futari, comparing it to American lesbian pulp fiction published during the same period.

[21] Critic Karen Merveille, writing for the French publication Manga 10,000 Images in 2010, stated that while she considered Shiroi Heya no Futari overly pessimistic, it nevertheless has merit as a pioneering work.

[22] Resine is a character defined by her guilelessness and shyness, contrasting Simone's rebellious delinquency; though their differing natures initially cause conflict, they gradually grow closer before being tragically separated.

[19] Fujimoto writes that the Crimson Rose and Candy Girl dynamic, as established by Shiroi Heya no Futari, became the archetypical depiction of female same-sex romance in manga.

[23] Shiroi Heya no Futari uses a romantic style that had become recently popular in shōjo manga of its era, characterized by large-eyed protagonists with long, flowing hair, as well as the heavy use of symbolism and decorative elements.

[17][22][26] Friedman notes that the manga was "meant to be cutting edge" in its treatment of its setting – the characters wear 1970s fashions, and attend clubs and bars where they smoke cigarettes and drink – but that these elements may seem "dated and campy" to a modern reader.