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An Introvert’s Hookup Hiccups: This Gyaru Is Head Over Heels for Me!, Vol. 3

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By Yuishi and Kagachisaku. Released in Japan as “Inkya no Boku ni Batsu Game de Kokuhaku Shitekita Hazu no Gal ga, Dō Mitemo Boku ni Beta Bore Des” by HJ Bunko. Released in North America by J-Novel Club. Translated by Satoko Kakihara.

It would appear that this series is going to be four volumes long, so if you were waiting for the payoff where they both finally confess to each other the one secret that is mentally destroying them both, well, you’ll have to wait a bit more. That said, almost everything else gets wrapped up here. Having finally confessed to both sets of parents that they’re going out, and getting approval from both of them, there’s not really much standing in Yoshin and Nanami’s way. Well, OK, there are a few things. Yoshin is still getting advice from his gaming group friends, and feels bad he hasn’t told Nanami about them. And on a more serious note, when Nanami asks him to drop the honorific when he talks to her, he chokes up and can’t quite do it. Is it repressed trauma? Or is it just another case of kids being jerks?

After dealing with the rumor mill at school, which says that either Yoshin has broken up with Nanami, is cheating on Nanami, or is in a harem relationship, we get to the bulk of the plot. Yoshin and Nanami’s parents have decides to take both families on a trip to a hot springs. That… really is the bulk of the plot, these aren’t complicated books. They go to the hot springs several times. They dress up in kimono/yukata and get a rickshaw ride around the town. There’s a few “whoops, I fell asleep and my hand is touching your stomach” moments, the punchline being that she’d prefer if he was groping her boob as she worries about her weight. There’s a cherry blossom viewing. And there’s what I mentioned above, as Nanami is convinced she’s done something to hurt Yoshin, but really it’s … well, as I said above, kids being jerks.

Sorry to spoil the one plot twist in this book, but it turns out that when he was in elementary school he asked a girl if he could call her by her name without an honorific, and she mocked him for it, then the whole class did. This seems mild, but it reminds you that they’re called formative years for a reason, as it led to him basically shutting himself off from other people for years. And, of course, not telling anyone about it. Sadly, I understand those feelings very well. That said, because this is the series it is, by the end of the book he’s managed to get over it, mainly because Nanami is sweet as pie and will forgive him anything. Oh yes, the other minor conflict from previous books is also mentioned – yes, the girl on his gamer group had a crush on him, but once she meets Nanami she pretty much gets over it.

So all that’s left is admitting “I did it for a dare”/”I know”, and the series is over. That will take another book, thoguh I’m pretty sure that book will also be filled with sweet, adorable moments. Which are basically the reasons that people read this series.

YashaHime: Princess Half-Demon, Vols. 1-2

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YashaHime: Princess Half-Demon epitomizes what I dislike most about IP-driven entertainment. It’s a manga adaptation of an anime sequel to a popular series, made with little involvement from the original author. Though the scriptwriters have created new characters and plot lines for the sequel, YashaHime feels more like the product of a focus group than an organic continuation of the story.

Like InuYasha, YashaHime begins in present-day Tokyo, where one of Sesshomaru’s twin daughters is living with the Higurashi clan. There are a few hints that Towa is troubled—she’s bounced from school to school, never really fitting in with her peers—but she valiantly tries to be a normal teenager. The sudden appearance of a demon at the Higurashi’s shrine sets the plot in motion, whisking Towa back to the feudal era and reuniting her with Setsuna, her fraternal twin, and Moroha, her cousin. Once back in her own time period, Towa joins Setsuna and Moroha on a quest to locate a set of “mystical pearls” and solve the mystery of what happened to their families.

There’s real potential in building a sequel around Sesshomaru and InuYasha’s daughters, but the authors skimp on meaningful character development. Setsuna, for example, is stoic and surly like Sesshomaru, while Moroha is boastful and loud like InuYasha; only Towa feels like a fully realized character. Towa is depicted as a shojo prince, decked out in a white pants suit and cropped haircut that lend her an aura of gender-bending cool—a point reinforced in the early chapters of volume one, when Towa is showered with notes from adoring female classmates. Beneath her cool exterior, however, Towa is haunted by the gaps in her memory, as she struggles to fit in with her adoptive family.

The other big drawback to YashaHime is that the authors lack Rumiko Takahashi’s gift for imaginative, economical storytelling. They shamelessly mine the original series for ideas, staging several action sequences that recall the earliest chapters of InuYasha. (Remember the three-eyed crows? Or the centipede demon who kidnapped Kagome? They’re back for another turn in the spotlight.) In between the demon-wrangling and the unfunny sight gags, the authors fall back on long-winded conversations to reveal how the three girls were separated from their parents, over-explaining everything to such a degree that the story groans under the weight of expository dialogue.

About the best I can say for YashaHime is that Takashi Shiina has done an admirable job of capturing the charm of InuYasha‘s character designs while making them look a little more up-to-date. Though Shiina’s linework is more angular than Rumiko Takahashi’s, the characters strongly resemble Takahashi’s original creations. All three leads have features that recall their famous fathers—Setsuna’s fluff is a particularly nice touch—while the human characters from InuYasha have aged in a naturalistic fashion. The demons, too, are drawn with care; Myoga, Jaken, and Kirara are all immediately recognizable.

I wish I enjoyed this series more, as I’ve been an InuYasha fan for almost twenty years. Part of the reason I loved the original series was that it felt like a real work of imagination, with odd flourishes of horror and genuine moments of pathos. YashaHime, by contrast, is so beholden to Takahashi’s original text that it never takes the kind of creative risks that would elevate it beyond the level of corporate doujinshi. There’s nothing as deeply unsettling as the sight of Naraku’s flesh bubbling in a cauldron, or as poignant as Kikyo and InuYasha’s final conversation; everything has a warmed-over quality, even when Shiina and Katsuyuki Sumisawa’s script explores new ground. Not recommended.

YASHAHIME: PRINCESS HALF-DEMON, VOLS. 1-2 • STORY AND ART BY TAKASHI SHIINA, MAIN CHARACTER DESIGN BY RUMIKO TAKAHASHI, SCRIPT COOPERATION BY KATSUYUKI SUMISAWA • TRANSLATED BY JUNKO GODA • ADAPTED BY SHAENON K. GARRITY • LETTERING BY JAMES GAUBATZ • VIZ MEDIA • 200 pp. • RATED TEEN (Fantasy violence, horror)

Rascal Does Not Dream of a Nightingale

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By Hajime Kamoshida and Keji Mizoguchi. Released in Japan as “Seishun Buta Yarou wa Nightingale no Yume wo Minai” by Dengeki Bunko. Released in North America by Yen On. Translated by Andrew Cunningham.

When I first saw the title, I wondered why we were getting two “singer” books in a row, and wondered if we’d be hitting all of Sweet Bullet. But no, this is not “Nightingale” as in “sang in Berkeley Square”, it’s “Nightingale” as in “Florence Nightingale”. I’m not sure if the author is TRYING to hit every single fetish, but it’s certainly true that, after commenting on the miniskirt Santa he met last time, he has to deal with several nursing school students this time around. Including, unfortunately, his old nemesis Saki. Fortunately, both of them have grown up to the point where they can actually tolerate each other in short bursts. As for the actual person who stars in this volume, we’ve seen her before as well. She was briefly in Sakuta’s high school in the “other universe” in Book 9, and he briefly saw her at college last book. And, as it turns out, she’s heavily connected to his past.

After briefly meeting up with Yuuma and Rio for a day outing, and confirming that Yuuma is quite happy being written out of the series, Sakuta goes back to trying to solve the problem of Touko Kirishima and the resurgence of Adolescence Syndrome. Of course, this being Sakuta, “trying” is perhaps too strong a word. What he ends up finding is that Ikumi Akagi, his old classmate from junior high, has been going around doing good deeds. Horrifying, right? It turns out that these good deeds are connected to a social media tag where people confess prophetic dreams, and Ikumi has been using that to try to stop the bad prochecies from coming true. This bothers Sakuta, who has first hand experience about why doing that can be a terrible idea. That said, what’s more bothersome is the fact that she’s making him remember what happened back in junior high, i.e. the events that led to the main plotline of this series.

This isn’t a harem series. Really. Sakuta has remained faithful to Mai the entire time, and the two have several lovey-dovey scenes together. It’s just that Sakuta has that combination of a bad-boy personality combined with good-boy actions that leads everyone to be drawn to him. Ikumi is no exception, and I actually want to be circumspect here, because I thought a lot of the aspects of her syndrome, as well as the cause and resolution, were very clever in a series that’s already pretty clever, so I don’t want to give it away. At heart, this is about how hard to can be to live up to your own expectations. Ikumi feels she failed Sakuta in junior high, and has never been able to get over it. Sakuta always feels like he’s doing the wrong thing, especially after going to the other world and finding a Sakuta who seemingly did everything right. We are our own worst critics.

Good stuff, even if it still feels like a series that ended at Book 9 and the publisher is locking the author in a room until they write more because it’s got movies coming out.

Pick of the Week: Edges, Goodbyes, and Homunculi

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MICHELLE: Psychological josei drama from Kyoko Okazaki? Gotta be River’s Edge this week.

SEAN: Much as I would love to pick the Okazaki, I know it’s gonna be too dark for me. So I’ll go with the final volume of The Reincarnated Princess Spends Another Day Skipping Story Routes, one of the better villainess series I’ve been reading.

KATE: Someone has to pick Good-Bye, Eri, so I’ll do it. Them’s the rules.

ANNA: I’m ready to go dark with i>River’s Edge.

ASH: Homunculus is one that I’ve been curious about for a while now, but I can’t pass up the opportunity to pick up another work by Kyoko Okazaki, so it’s River’s Edge for me, too!

Chitose Is in the Ramune Bottle, Vol. 4

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By Hiromu and raemz. Released in Japan as “Chitose-kun wa Ramune Bin no Naka” by Gagaga Bunko. Released in North America by Yen On. Translated by Evie Lund.

It was once said, a couple decades ago, that no one would ever license a sports manga because it wouldn’t sell. Nowadays, given the enormous number of people who obsess over series like Haikyu!, that seems a bit ridiculous, but it was true. I’m not entirely sure if there are a large number of unlicensed light novels that follow baseball or basketball teams the way that manga does, but I’m inclined to say probably not. And we certainly don’t have them licensed over here. You’re allowed to dungeon crawl, or try to break off your engagement so you don’t die, but please don’t mention the K word. And by K I mean Koshien. That said, Chitose Is in the Ramune Bottle is notable for having a LOT of jocks in its cast, by the nature of its premise. And it’s this fourth volume that drills right down to the heart of the jock, showing us what it means to dream big, and also balancing the harem again with its shortest member.

We’ve known since the start of the series that Chitose used to play baseball but quit. Now the team is back, begging him to come back as their star is injured, and won’t be ready in time for the first knockout game. Chitose, needless to say, is rather pissed off about this, as he had reasons for leaving the team – which, you’ll be grateful to hear, we finally hear about. He’s also dealing with the girls’ basketball team, which has a new captain, Haru, who’s a taskmaster and is pushing the others past their limits – which they hate. It’s needed in order to make them a better team, but it also makes Haru a very convenient target. Will Chitose manage to help Haru to reconcile things with her basketball team, and can he do that by giving in and playing his last ever baseball game? Even if it means breaking himself to do it.

The series’ best feature remains its ability to convince you, in each new volume, that the girl being focused on is definitely the one who should “win” the Chitose romantic partner sweepstakes. Last volume I said that Asuka was written out in the third book as she was so far ahead of the others. (As it turns out, she’s still around, though Chitose is mooning over her less.) In this volume, it feels like he and Haru also really belong together – they’re birds of a feather, basically, and a reminder that “opposites attract” is not always true. The book is also very good at showing the frustrations of the high school athlete. Haru is a fantastic basketball player. But she’s 4’9″, and there’s simply no way to make up that difference in height in a sport like that. As for Chitose, well, he’s cool. The best scene may have been when he’s wavering back and forth on what to do, and when he tries to do an uncool option Haru chimes in “I don’t like this Chitose.” It was adorable.

So yes, the light novel for normies remains excellent. We’ll see what the next volume brings – Yuuko is on the cover, will she be the lead girl?

So I’m a Spider, So What?, Vol. 16

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By Okina Baba and Tsukasa Kiryu. Released in Japan as “Kumo Desu ga, Nani ka?” by Kadokawa Books. Released in North America by Yen On. Translated by Jenny McKeon.

I had heard rumors that the Spider So What fanbase (yes, there is one, though perhaps not as much now) was unhappy with the webnovel ending and hoped it might be changed a bit for the light novel. Sad to say, I don’t think it is. Also sad to say, I get their point. Even if I haven’t liked her at times, or felt that she was being too much of an evil villain, the spider is the star of the show. White is the reason everyone is reading the book. I may enjoy following the adventures of the human cast more than the rest of the fans of this series, but that doesn’t mean that I want the book to star them instead. The book’s gimmick is its spider doing really cool things while chattering endlessly in her head. As such… why the author decided to have her appear only at the start and end of this book is beyond me.

We pick up right where we left off, with White battling Black for the future of this world. One side wants to kill half the population to save the goddess who’s being tortured to keep everything going, the other half wants to kill the goddess to save the population. There is a lot of angsting, hand-holding and self-doubt among the various cast members about this… at least until about halfway through the book, when everyone realizes what the reader pretty much knew: there are no sides, we are all in this against D, who simply wants to have bad things happen for the lulz. Everyone (except Black and White, still fighting) teleports to where D is, and some are shocked to discover that she’s the real Wakaba. They’re even more shocked to discover that she’ll give them what they want… if they defeat her.

This book ends up being a string of anticlimaxes. Chief among them I’ve already mentioned, which is White being absent from most of the book. Second among them would probably be White’s actual fate in the final pages, which I suppose is meant to be punishment for her hubris but reads like thumbing a nose at the reader. The rest of the book alternates viewpoints among the rest of this ludicrously large cast,. and the only ones who remotely get closure and a happy ending are the adventurer couple, who survive and live happily ever after mostly as she clonks him on the head and runs away from the final battle. The epilogue reads like the author lost the last hundred pages of the book so decided to submit bullet points instead. Shun’s romantic resolution is absolutely a “fuck you” to me personally. I could go on.

I made it through this whole series, and it started off great. But it began to flag a few volumes back, and the climax has been a painful experience. White deserved better than this.

Birdie Wing: Golf Girls’ Story, Episodes 1-25

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Written by Yōsuke Kuroda, directed by Takayuki Inagaki for Bandai Namco Pictures. Released in North America on the Crunchyroll Streaming Service.

(This review talks about plot points for the entire show, so spoiler warnings apply.)

Unlike almost every other person who watched Birdie Wing when it first came out, I grew up enjoying golf, though I never played it myself. I bought golf magazines. I watched the first Skins Game, back when they mic’d the golfers. I followed the career of Ben Crenshaw, the master of putting. As such, I did not find the premise of the show as personally offensive as other people did, despite my knowledge, later in life, of the dark side of golf. But I still had no plans to watch Birdie Wing: Golf Girls’ Story, which I had never heard of. But then I saw everyone on Anime News Network reviewing the first episode and saying “Oh my GOD”, so I was curious. I then went and looked at the creators, and saw the writer, Yōsuke Kuroda, had written what seemed like half of all anime since 1996. So I thought, why not? Reader, I had no idea that this anime would become my new obsession.

Not based on a light novel, manga, or game in any way, but an ORIGINAL STORY (gasp!), Birdie Wing tells us the story of Eve, a teenage girl who we first meet impersonating a pro golfer for money but whose main job actually seems to be “golf hustler”. She certainly has the skills, which we gradually see she got from a mentor figure (who looks like Char from Gundam – more on this later), but is far too cynical and jaded to see what she does as anything other than “hitting a ball with a stick to make money”. Then one day, on a golf course, she meets top amateur Aoi Amawashi, who is in the country of Nafrece for a tournament, and whose golf excites Eve. And the feeling is mutual. They resolve to play a match against each other to see who is best. The next 24 episodes are about the universe doing everything in its power to try to stop this happening.

Birdie Wing is a sports anime. I’m going to say that over and over again throughout this review, because I think it really has been forgotten among a number of other people who wanted this to be some other kind of anime. It manages to combine elements of both shonen and shoujo sports, with everyone shouting their golf swings like it’s an attack name. The nature of golf conveniently divides most groups into pairs, so, especially once we hit the second arc (there are three), we get a series of golf rivals who are there to briefly suggest that they could be the ones to finally make Eve and Aoi notice someone else, and then promptly get demolished, because there is no one else. Eve and Aoi only care about each other, and in the end what takes them down is not another stronger golfer, but the plot.

That said… no one started to watch this because it was a good sports anime. We watched it for the mafia golf. We watched it for Vipere, a two-bit golf villain who distracted her opponents by unzipping her top down to her crotch to let out her psychotropic “belly button perfume” (sure, Jan) and who later became the series’ version of Speedwagon from JoJo’s (she even withdraws coolly at one point). We watched it for the transforming golf course that looked like Eva-3. We watched it for the rocket launcher. We watched it for THAT scene at the end of Episode 7. We watched it for the music videos in the middle of the show (there were two). We watched it for the weatherwoman certification. We watched it for the possibility that incest would sink our ship, and rejoiced when it turned out to merely be a very fucked-up backstory. And we watched it for Aoi’s 48-incher.

But again, this was a sports anime. It was sponsored by a large number of Japanese golf associations and golf courses, as well as golf clothing manufacturer Jack Bunny (yes, that’s a real company name),. It got a ridiculous amount of hype given what it was. There was the line of golf clothing. There was the virtual museum. There was the video game that just came out last week. There’s a mobile game on the way. And then there’s the Gundam. This series was DRENCHED in Gundam references. Most obviously, Aoi’s coach (and more than that, as the series goes on to reveal) was “Reiya Amuro”, played by the Gundam actor himself. Eve’s mentor Leo not only looked like Char but was played by Char’s voice actor (the two are real-life golf buddies). Eve’s first sidekick, Lily, is obsessed with Gunpla. The tournaments are named after Gundam shows. The final boss golfer quotes After War Gundam X. It was a whole big thing.

And I didn’t even mention Madlax. Remember Madlax? It’s back. In golf form.

This is a sports anime, sponsored by golf people, so of course it’s going to want to sell golf to viewers, and it manages to do this despite being ridiculously cavalier about every single rule of golf. We meet top golfers who take one look at the way Eve swings and run away, convinced that watching her more will destroy their own golf. We meet golfers who can shut off all outside stimulation for better concentration, or who can run at the tee and take a big hack at it like Happy Gilmore. And yet, and YET, the most important episode in the entire series may be the 17th. To the delight of everyone watching, Eve is back in Nafrece, and back in the underground mafia golf complex playing golf for high stakes against a cheating underground golf opponent. And the show tells us that no, we are WRONG to want this. Eve has moved beyond this fake golf. She wants, real, passionate golf. Golf she can only get with Aoi. (Note that Aoi never intersects the mafia plotline once.)

The characterization is great. Eve’s arc, going from a young girl angry at the world but who can find no way to fight against it other than hustling, to a young woman playing in the British Open against her rival, showing genuine grief at someone’s pain for possibly the first time in her life, and only managing to not win it all because… well, did I mention the golf hustling? Aoi is the second protagonist, and for the first half of the series (which ran in Spring 2022) it looked like she was merely a supporting character. But that’s because her storyline had all the non-mafia soap opera drama packed into the second half, which the producers say they did in the style of Korean dramas (I was reminded of Spanish-language “telenovelas” myself). Aoi suffers more than Eve, and loses heart more than once, but this makes her eventual triumph all the sweeter – even if it might be lived vicariously.

And then there’s Ichina, who is the best caddie ever except in the final episode when she backs off because the story demands it. (I get that – most of how Birdie Wing works is that something makes no logical sense but works perfectly as a narrative.) There’s Amane, who is a golf indentured servant who also achieves her goal and dreams. There’s Rose Aleon, a character so powerful that even after her final appearance in the 8th episode, we kept hoping the show would find a way to bring her back. Aoi’s happy go lucky grandfather, who turns out to be abusive and, of all things, a golf eugenicist. Aoi’s mother, who is so controlling that she almost kills her daughter (her line “golf is killing them all” might be the 2nd biggest meme of the series). Eve’s parents, who get a Romeo and Juliet style backstory before ceremoniously killed off. There’s something for everyone.

I have not actually mentioned the relationship between Eve and Aoi, which is another big reason that this became a cult classic. (It never did get to be a big hit and even now anime fans will still say they hadn’t heard of it till it was pointed out to them.) The two of them are drawn to each other immediately, but both stay 100% in character about it. What this means is that Eve teases and draws back and never really commits herself until the very end, while Aoi is a lot more upfront about her feelings, pines away, gets upset, and spends most of the second arc trying to beat Eve so she can get a kiss. Towards the end of the show, when Aoi collapses again, Eve is devastated, showing real grief for the first time. And then they manage to find a way to golf together even when they can’t, and Eve’s final shot, the one that wins the day, combines their two attacks. As was noted on Twitter, it very much was their child.

Does this end with a kiss? No. Does it end with Eve and Aoi saying they love each other, as a couple, or married? No. Is it yuri? Fuck yes. These two spend the entire show only seeing each other. All the other rivals are unimportant – in fact, that’s mined for humor once or twice. The show spends its entire time driving the two of them apart, by mafia shenanigans, by Love Story golf disease, by family on both sides. But the final scene shows them, years from now, still only seeing each, other, still golfing together, and having to be reminded to do so by their caddies lest they just look in each other’s eyes some more. The word “yuribait” was bandied around after the show ended. This wasn’t yuribait. Yuribait would be if the show had ended by showing them married off to some guys. It was never going to do that, because the only major male figures in this show were related to the two of them in some way, shape or form. Honestly, given the way the final episode played out, I think a kiss would have felt out of place. This is enough. They’re together forever, playing golf, just as Aoi said would happen.

Birdie Wing: Golf Girls’ Story was the definition of Must See TV. The yearlong wait we had between the first and second halves made the anticipation all the greater, and in the end it delivered. Yes, the final episode was rushed, and I wish it had been 26 episodes. Yes, the animation quality was merely “adequate”, though it never really got as janky as some other recent series I’ve seen fall to rushed production. It leaves an open ending in case they ever decide to do more (the producer, in an interview, suggested a next-gen sequel might be interesting), or in case fanfic writers want to make the implicit yuri more explicit. It’s the sort of show you immediately want to rewatch,, and I desperately hope it gets a physical release over here in North America. It was amazing. And Aoi’s ball had Pac-Man on it.

Also, it’s “Venus Line”. It’s very audible. I never got the people who misheard it. Sheesh.

Bottom-Tier Character Tomozaki, Vol. 10

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By Yuki Yaku and Fly. Released in Japan as “Jaku Chara Tomozaki-kun” by Gagaga Bunko. Released in North America by Yen On. Translated by Jennifer Ward.

We’ve spent most of this series trying to understand, and in some cases attempting to like, Aoi Hinami. She’s the second protagonist of the series. She’s the driver of most of the changes that Tomozaki makes. She’s also the driver of most of the mistakes that he makes as well. In the last volume we saw things between her and Tomozaki come to a head, and their “partnership” broken up. As I’ve mentioned before, Hinami has seemed scary a lot of the time (rivaled only by the other main girl in the series, Kikuchi) and as the books have gone on we haven’t had a lot of information as to why. We know from a book or so ago that whatever problems she has seem to stem from family issues. And now here, in a book that is dedicated almost entirely to cheering Hinami the hell up after Book 9’s fallout, we finally see what is likely driving her to be the way she is. It’s grief.

Tomozaki has been a bit depressed since he and Hinami “broke up” last volume, and is dwelling on it (in front of Kikuchi, no less, who I continue to feel a bit bad for). What’s more important, though, is that Hinami has also been depressed, to the point that everyone around her notices the cracks in her perfect mask. Given that her birthday is coming up, all her friends decide to throw a “surprise” party with an overnight trip to Super Nintendo World (or its copyright-safe version, at least) amusement park. They also divide into three competing groups, each one trying to get Hinami the present that will make her the happiest. Meanwhile, Tomozaki is determined to talk with Hinami to try to repair their fractured relationship… and Mizusawa wants to finally confess to her. But what will Aoi think about all this?

I’ll be honest, I spent a lot of this book waiting for the other shoe to drop, and was rather surprised when it didn’t (though we may be saving that for the next book). The back half of this book is wonderful, showing everyone going around, getting on rides they know they’ll hate, eating lots of cheese-filled foods, and trying to get Hinami to show her real face to them. And, hey, it works! It turns out that it’s hard to always do the logical, reasonable choice when you are, say, zooming backwards on a terrifying roller coaster. It leads to the emotional climax of the book, where Hinami finally talks to Tomozaki about her past, and reveals that her need to be so certain about everything is down to an event in her life that she can never be certain about – one where the answer to her desperate question is impossible to find out. It really does explain a LOT of what Hinami was doing. That said, the actual end of this book may have more of an impact… will Hinami finally be seen to break down in front of others?

The 11th volume, from what I hear, is the final one. Unfortunately, its release in Japan has been delayed, so I’m not sure when we’ll see it. Till then, this volume is filled with happy and sad moments, and should be satisfying for all fans of the series.

The Manga Review: Back in the Saddle

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After almost two years of planning and procrastinating, my husband and I finally got around to putting in a garden last Friday. It was cold, grey, and raining, but I’m pleased to say we got the job done. By the time we finished, though, I didn’t have a lot of energy for manga blogging—we got soaked to the skin in the final stages of planting—so I skipped last week and hoped my Feedly folders wouldn’t be too full when I sat down to write this post. Boy, was I wrong…

NEWS ROUND-UP

Brigid Alverson breaks down the Circana Bookscan numbers for May 2023. “Webtoons and manhwa continue to dominate the Author chart,” she notes, while Blue Lock and Oshi no Ko are making headway on the Manga chart… For the first time in fifteen years, VIZ will be raising the price of its manga from $9.99 to $11.99 per volume… and speaking of VIZ, the publisher announced nineteen new licenses, including manga by Taiyo Matsumoto and Kazuo Umezz, as well as a Food Wars/One Piece mash-up and a One Piece novel. For more insight into VIZ’s spring 2024 line-up, check out the latest Manga Mavericks episode.

In other news, Azuki added a new sci-fi series to its library: Mecha-Ude: Mechanical Arms. Look for chapters one and two in July… Ize Press just acquired Finding Camellia… GKIDS will bring Blue Giant to North American theaters for a limited run this year… Tezuka Productions is using ChatGPT to create a new Black Jack story for publication this fall… Netflix has unveiled a new One Piece trailer… and  Matthew Levay interviews Tony Davis, owner of The Million-Year Picnic, the oldest comic shop in New England (and a cool place to browse, I might add). 

AROUND THE WEB

Anita Mowete explains how Blue Lock gave her a new respect for soccer. “As I read through this series, for the first time I understood how people can get so excited over football,” she observes. “I now understand how it gets people pumped up to maximum excitement or brings them to tears. You get a glimpse of the culture that surrounds football, the stories of each participant and the years of dedication that led up to the critical points in make-or-break matches.” [How to Love Comics]

In honor of Pride Month, Women Write About Comics convened a roundtable on the current state of LBGTQ+ manga. [WWAC]

Camil V. Ristè explores Keiko Takemiya’s early career, from Pharaoh no haka (1974-1985) to Toward the Terra (1977-1980). [Anime Feminist]

The Manga Machinations crew weigh in on the live-action adaptation of What Did You Eat Yesterday? [Manga Machinations]

The Reverse Thieves name Skull-Faced Bookseller Honda-san their manga of the month. [Reverse Thieves]

Kory, Helen, and Apryll discuss Until I Meet My Husband and She Loves to Cook, And She Loves to Eat. [Manga in Your Ears]

Did the Shonen Flop crew give Ginka & Glüna a frosty reception, or did they warm to this adventure series about a magical snowman? Tune in and find out! [Shonen Flop]

The Mangang dedicate their latest show to JH’s The Boxer, a Korean drama about a boxing prodigy. [Mangasplaining]

In a letter to readers, Beneath the Tangles’ editor-in-chief explains why the site won’t be covering the new Rurouni Kenshin anime. [Beneath the Tangles]

William Schwartz offers an in-depth look at Joseon Attorney, a Korean webtoon that’s equal parts historical drama and legal procedural. [The Comics Journal]

Jocelyne Allen sings the praises of Ryo Ikeumi’s Kiyouko Iwaka, a series that “has everything I want from shojo: reasons to cry, interior monologues questioning all emotions everywhere, secret handholding, and dramatic vengeance being exacted with the throwing of a whole tub of paint on a person.” [Brain vs. Book]

REVIEWS

Andy Oliver reviews Gengaroh Tagame’s Our Colors, “a tenderly told tale of two gay men from different generations”… Adam Symchuk praises All-Rounder Meguru for its “dedication to authenticity and ability to break down a fight with technical precision”… SKJAM! tackles Deserter, an anthology of early Junji Ito stories… Helen pronounces Osamu Tezuka’s Apollo’s Song “bloated” and pointlessly transgressive… and Kara Dennison has an early look at Susumu Higa’s Okinawa.

New and Noteworthy

Complete, Ongoing, and OOP

The Ephemeral Scenes of Setsuna’s Journey, Vol. 1

by

By Rokusyou, Usuasagi and sime. Released in Japan as “Setsuna no Fūkei” by Dragon Novels. Released in North America by Yen On. Translated by Andria McKnight.

Theoretically, every new light novel series is someone’s first light novel. You could have a reader who has never read an isekai, who knows nothing of Japanese RPGs, and who would easily get lost in the world unless it’s laid out before them. Theoretically. In reality, everyone has read about 800 of the things, and we all know how adventurer’s guilds work, at least in the broad strokes. And this particular series starts off very badly by abusing “tell, don’t show” for the first hundred pages or so, having various NPCs walk the player character through what he needs to do in order to play this game. Except the player character is our hero, and this is a book, not a game. As a result, it’s mind-numbingly tedious much of the time. Fortunately, the book improves greatly in its second half, and it does feature a very clever premise, so it has my attention more than other slow life isekai otherwise would.

Setsuna is a young man who’s had major health problems his entire life, and has mostly been confined to a hospital bed. But then, he’s transported to another world, to become a hero!… wait, he’s just transported, not reincarnated. Which means he’s still slowly dying. He’s shoved in a room and ignored for a year or so, with the implication being that once a new hero is summoned he will be quietly killed. Then he’s visited at his bedside by the 23rd hero, who is there to give him powers from two different heroes, which will a) heal him, and b) let him do whatever he wants. Setsuna, who has rarely left his hospital bed, decides that he wants to travel the world and see the wonders of it. So, after escaping, he joins an adventurer’s guild, which is a decent first step.

I feel this book is warring against the premise it wants to tell. It’s supposed to be about Setsuna and his apprentice wandering the world and experiencing it, and those few scenes we get are among the best in the book. Getting there takes forever, though, and the relaxed slow life jars heavily with the sheer awfulness of the kingdom that summoned him, who use hero summonings as basically “free slave!” and apparently killed everyone who took care of Setsuna after he “died”. It’s not helped that, in a side story, we meet the 5th princess of the kingdom, who seems mostly ignorant of what is going on and is living in a completely different light novel series. Honestly, I wonder if the writers had three ideas – summoned but not healed, guild adventures with an OP hero, and man and his adopted son wandering the world – and decided to try to combine them all into one book for extra content. It just feels sloppy all round.

As I said, the scenes between Setsuna and his adopted apprentice are the best of the book, and that appears to be what the series will actually be, so that’s good. Good luck getting there, though.