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Reviews

The Reincarnated Prince and the Kingdom in Woe

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By Nobiru Kusunoki and Arico. Released in Japan as “Herscherik” by M Novels. Released in North America by J-Novel Club. Translated by Adam Seacord.

It has to be said, after a year that seems to have been filled with nothing but Japanese office ladies dying and being reincarnated in various games, it was somewhat startling to realize that’s not what’s going on here, and that The Epic Tale of the Reincarnated Prince Herscherik (the series name overall) is simply a normal reincarnation isekai – albeit one where our hero is reincarnated as our hero. If I was to ask what the ‘gimmick’ is with this series, that would be one of the three points. The second would be that the hero’s adventures in this book take place from age 3 to age 5 years old. There may be a timeskip in later books (the series is a total of five volumes), but certainly not here, where the prince needs to learn to get things done while being an even smoller bean than Myne. Possibly most importantly, there is very little to no humor in this book. The kingdom is in danger from its corrupt officials, the king is powerless, and good people die. Herscherik is going to need all his OL skills.

Unlike a lot of these sorts of ‘otaku lady in another world’ stories, the life in Japan plays a large role in the story, with Ryoko’s past life sometimes making Herscherik function almost the way Tanya von Degurechaff does, with Ryoko’s own thoughts sometimes seeming separate from Herscherik. Ryoko is a relatively successful office worker who specializes in oversight and checking to make sure everything balances. She is the eldest child, but isn’t married despite her younger sisters both having partners. But she’s reasonably happy, and has a love of games which makes her rush through the rain to get a preorder… which leads to the inevitably car accident that causes her death. There are flashbacks that show her interactions with her family, and we see what her funeral may have been like. It’s quite touching, and it’s also nice to see someone in a reincarnation isekai who got on well with their loved ones.

There is a LITTLE bit of humor in the book – I was amused at Herscherik noting how handsome he is, and then seeing the rest of the royal family, each of whom are far, far more gorgeous. That said, for the most part the book runs on intrigue and thriller, as our little prince rapidly realizes that his kingdom is going to be destroyed and that his father the King is too beaten down and cowed to do anything about it. (We get some scenes with the king, and he’s nice enough, but yeah, Herscherik is needed.) The prince may be only a few years old, but thanks to Ryoko’s knowledge he’s able to figure out who the bad guy is and who the bad guy’s minions are. We don’t take out the big bad here – this feels like a series that was entirely plotted out before it was started – but at least we get a minion humiliated and blackmailed. Oh yes, and Herscherik gets a butler-cum-assassin, who is exactly what you would expect an assassin-turned-butler to be like.

If watching Full House made your eyes roll at the precociousness of the Tanner kids, this may do the same. That said, Herscherik at least has Ryoko’s memories and life experience as an excuse. Other than that, though… this is simply well-written and gripping. Epic Tale fits it nicely.

The Hero Is Overpowered But Overly Cautious, Vol. 4

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By Light Tuchihi and Saori Toyota. Released in Japan as “Kono Yuusha Ga Ore TUEEE Kuse Ni Shinchou Sugiru” by Kadokawa Books. Released in North America by Yen On. Translated by Matt Rutsohn.

As I said last time, it’s been hard seeing this two-volume series continue into Volumes 3 and 4. The author knows they can’t just walk things back, but at the same time a different path forward is hard to take. For the most part in this fourth volume, Seiya is much the same as he always is – verbally trashing everyone and anyone while also creating the most perfectly prepared plans. We get a lot of that here as well. He abuses another God who’s hiding a dark secret that turns out to be more embarrassing than anything else. He distrusts almost everyone else around him, including the zombie general (who Rista is too weak to send to his eternal reward) and a machine person with the personality of a meek young girl. And of course Rista supposedly spends most of the book in ‘lower than a weed’ status, even though she’s gotten to the point where she no longer wonders why he does the things he does. That said, there’s a tiny bit here and there showing other sides to him.

This applies to Rista as well, who is not simply there to be a tsukkomi anymore (though when she is called upon, she does manage to step right back into the role – the scene with the giant Rista golem is the funniest in the entire book, and reminds you that above all this is still meant to be a comedy). She follows Seiya’s orders without questioning now. Unfortunately, she also wants to try to help in a way that is not simply following instructions, and that’s what leads to danger and trouble, as she ends up cursed by the villain simply because she took the initiative for once. (She also fails hard when meeting the God of Wealth, where her need for some way to help Seiya causes her to give in to their pyramid schemes even as she knows that’s what they are.) And she knows she needs to step up despite all this, because Seiya is clearly doing too much.

In the first half of the book, we see Seiya seemingly panicking, something egregiously out of character for him, and it turns out, unsurprisingly, to have been part of his plan all along. This makes the impact much greater in the climax of the book when he falls unconscious and turns out, yes, to be genuinely unconscious. (This leads to the second best joke of the book as well, when the instructions he leaves behind are a Choose-Your-Own-Adventure style manual for every possible problem.) The villain in the book isn’t as memorable as the last few, though I will grant that she is creepy, particularly when consuming her other selves. They do leave a nasty curse on Rista, and there’s a cliffhanger suggestion that tragedy awaits (though I’m not as convinced as Rista is that she is Seiya’s Most Important Person.)

The 2nd arc ends with the next book, and it might be a good point to see whether the series is one that I should continue or not. I’m still sort of on the fence. But till then, please enjoy giant Mega Rista.

The Quintessential Quintuplets, Vol. 14

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By Negi Haruba. Released in Japan by Kodansha, serialized in the magazine Weekly Shonen Magazine. Released in North America by Kodansha Comics. Translated by Steven LeCroy.

(Obviously this spoils who Futaro chooses, though if you read Vol. 13 you should already be spoiled.)

There has been a decided pushback in the last couple of years away from “no ending” harem series. Harem series in general are always a tough sell, because they’re wildly popular… at first… but unless you make the “winning girl” clear from the start (and even if you do – see Love Hina, for example), fans will pick their choice and get very very angry with the author when it doesn’t go their way. For a while, authors tried to avoid that by having the ending be open and ambiguous. That went so badly that it destroyed some careers (see: School Rumble). Sometimes the author is determined to have his choice win despite the fact that almost his entire fanbase wants someone else (hi, Hayate the Combat Butler). We’re even seeing right now a series which literally is a “choose your own path” ending for 5 different girls (We Never Learn). Of these, The Quintessential Quintuplets has the most “traditional” harem ending. A girl is chosen, the fans get upset, and the series rapidly comes to an end. Perhaps too rapidly.

In terms of the actual girl chosen, I liked the ending. Of the five, it was always going to be down to three (Ichika shot herself in the foot during the school trip, and Itsuki finally realized her feelings for Futaro AFTER he confessed to Yotsuba, so was a non-starter), and the author surprisingly chose the least likely of those. Miku had the “yamato nadesico’ vibe to her, and was the first girl to really show Futaro her feelings. Nino was a dark horse at first due to her actions, but proved to be the most direct of the quints, and her popularity soared. But no, in the end it went to the girl who has spent the entire series denying a) that she’s in love with Futaro, and b) when that didn’t work doing everything in her power to hook him up with one of the others. That said, when the backstory came out, showing that it was Yotsuba who was Rena (most of the time), it started to become clear that this is where the author was heading.

The biggest argument against this final volume that isn’t “he picked the wrong girl” is that it’s rushed, and there’s no denying that. Leaving aside that the author felt a need to show his homework at the start of the book, showing off all of the moments where Futaro and Yotsuba grew closer and bonded (it feels like, even though the author was careful to show that Yotsuba was his choice all along, a montage he wouldn’t need if it were Miku or Nino) the aftermath flies by, to the point where only five chapters after confessing his love Futaro is (accidentally) asking Yotsuba to marry him. Some extra time and extra angst would have been nice. That said, there are tons of lovely scenes in this book. “”I won’t let you get away!” (She got away.)” Miku’s “I’m Yotsuba”, possibly the funniest pages in the entire series. The reverse “kabedon” on the train. The other quints grinning at Yotsuba saying “Futaro” instead of “Uesugi-san”. And, of course, everything about the wedding is a giant bundle of heartwarming.

When this ended in Japan, textual spoilers made it sound like it was choosing an “it was all a dream” copout. Context shows that isn’t the case (and an epilogue helps), but still, I think the author did not need to add to his troubles like that. That said, in the end I was pleased with this series, which kept fans guessing right up to the very end, something most harem series are not able to pull off.

Re: ZERO ~Starting Life in Another World~, Vol. 13

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By Tappei Nagatsuki and Shinichirou Otsuka. Released in Japan by MF Bunko J. Released in North America by Yen On. Translated by Jeremiah Borque.

I took a liking to Emilia from the very start of Re: Zero, and have been patiently waiting for her to live up to the potential she had. It’s been hard, let me tell you. This story has very precise and long-running character development, and when it pays off it’s marvelous, but it can take forever. The far more popular girl getting her important character development first did not help either, let’s face it. So I was ready for Arc 4, where I’d heard we would finally start to focus on Emilia. And… let’s face it, it’s STILL been hard. Seeing Emilia fail her test over and over, screaming and crying, has basically been playing into the hands of her detractors. It hasn’t helped that she doesn’t seem to have any allies. Yes, I’m including Subaru, who has been busily trying to find a way that Emilia doesn’t have to take the test, to the point where I wanted to punch him in the face (this made me nostalgic, let me tell you.) But here, in Vol. 13, we get the payoff, and the start of something new.

Admittedly, first of all we get the climax of the Witch’s Tea Party, which gets a bit Umineko after all, with Subaru at one point trying to bite his own tongue off to get out of there. The witches are, all, for once, relatively united in their desire to stop Subaru being self-sacrificing above anything and everything, and they try to explain (mostly to no avail, but it works a tiny little bit) that he needs to be selfish once in a while. That said, Echidna’s removing his ability to take the Tests is the best thing that happened to Subaru frankly. Now he can try to create a Faustian bargain with Roswaal, which tells us that we’ve seen the last of his Return by Deaths in this arc… or at least we hope so. Moreover, it helps Subaru to come to a realization: he doesn’t think Emilia can do it. He doesn’t believe in her. Neither does Roswaal, but Subaru’s the one who supposedly loves her.

This culminates in what may be the best scene in the entire series, where Subaru and Emilia confront each other in the tomb. (And yes, I am leaving out a lot here. Everything about Satella is jaw-dropping. The fight against Garfiel and seeing what drives him was wonderful. Otto is amazing and awesome and if you don’t love him we can’t be friends. Ram is fantastically sharp-tongued but also knows what Subaru is really like. And we see Puck again, probably for the last time, as Emilia is allowed to recall her tragic past and thus try to move beyond it.) Emilia is bitter and angry because Subaru promised he’d stay by her side as she slept and then he promptly left so that he could set up his multi-layered plan. The two of them have a wonderfully childish fight, appropriately given Emilia’s “mental age” is that of a teenager, and she eventually seems to accept that there aren’t conditions or logical reasons for Subaru loving her. I cannot wait for all of this to be animated.

So we’ve turned the corner 2/3 of the way through this arc, and I suspect that the next book will delve deeply into Emilia’s past. We get a bit of it here (oh dear, more Petelgeuse?), but there’s clearly a lot more to come. What’s more, I want her to triumph just as Subaru needs to. I want them to crush Roswaal’s spirit. And oh yes, stopping Elsa might be nice too. Why is there always so much packed into each volume of this. In any case, this remains one of the best light novels coming out right now. Give it to your friends who hate isekai to show them how it’s done.

Bibliophile Princess, Vol. 3

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By Yui and Satsuki Sheena. Released in Japan as “Mushikaburi-hime” by Ichijinsha Bunko Iris NEO. Released in North America by J-Novel Club. Translated by Alyssa Niioka.

We’ve been seeing a lot of light novels lately, particularly on the shoujo end, where it’s clear the author has a story in mind, wrote that specific story, and now the editors are telling them the story is popular, please write more and they get a little stuck. I’m not sure if that’s the case with Bibliophile Princess 3 (like the others, this does seem to have been published on the web first), but it definitely feels like that. We’re not ready for the wedding yet, and so we need to introduce more conflict. Unfortunately, the conflict that is introduced will feel very familiar to readers of the first volume, as it’s of a similar nature. Even after promising to talk to each other and not misunderstand things anymore, Christopher and Elianna are still struggling – him because he’s drowning in so much work that he doesn’t have the time, and Elianna because she is finally growing up and gaining emotional depth – for good and for ill.

She’s been going through royalty training, with Queen Henrietta trying her hardest to ensure that she’s prepared for the hardcore power politics that is life as a royal. A large part of Elianna’s teenage years was spent with Chris hiding her from this sort of thing, so there’s a lot of catch up to do. And Elianna is an introvert and wallflower (well, unless books become involved). She hears of one of her ideas being stolen by another noble family, and is shocked (mostly as it means there’s a mole close to her). There’s a Christmas ball (OK, it’s not “Christmas” per se, but everything about it reads like a Christmas holiday) where she’s supposed to dazzle everyone, and she is reluctant to be the Queen’s dress-up doll to perfect that (as the Queen has abused the privilege in the past). Worst of all, she keeps hearing about the prince’s childhood friend, and how she’s the one who REALLY should be with him.

Again, we’ve walked this journey before, in the first book. Elianna has a tendency to either downplay or simply not understand at all what she’s done for the kingdom, and we get that again here. That said, sometimes her emotional agony rings quite true, and the scene where she finally breaks down and cries in Christopher’s arms was well handled. I was not particularly fond of Lady Sharon – not as an antagonist, she works perfectly well there, being the typical bratty kid, but because she’s 10 years old and is being married off to Lord Glen, something that thankfully does not actually happen. I know back in the day such royal marriages across countries were typical, but this is not that day. That said, Sharon also led to the funniest scene in the book, when she tries to get Elianna to abandon Chris by offering an extremely rare book – and Elianna, while she eventually makes the correct decision, is sorely tempted.

So all told this is a very up-and-down volume in the series, which is struggling to try to find new ways to say the same thing. I hope in future books it finds different things to say.

Aria the Masterpiece, Vol. 5

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By Kozue Amano. Originally released in Japan by Mag Garden, serialized in the magazine Comic Blade. Released in North America by Tokyopop. Translated by Katie Kimura.

It may be forgotten in these days when Aria is a classic with multiple anime box sets released to great acclaim, but the manga once seemed to be under a curse. It was originally licensed by ADV manga (ask your parents), and petered out about Vol. 3. Then Tokyopop (1st edition) picked it up and made it through Vol. 6… and then did their “sorry, we’ve decided to stop publishing manga”. Now they’re back, and Mag Garden still speaks to them, so here we are having finally caught up with actual new material in this omnibus. The good news is that Aria remains exactly what its readers want it to be, giving us gorgeous artwork, laid-back slow-life travelogues, and the occasional dab of character development. And, given the larger trim and color pages, this is a very good edition to pick up for anyone who enjoyed the anime and wants more, or who was wary of getting this a third time for fear that it would strike out. (The 6th omnibus is due out soon!)

Alice (and Maa) are on the cover, and indeed there’s a sense in this volume that the author is really trying to stop having this be The Akari Show. Now that we’ve introduced Athena and the core cast is complete, we can work with them as a group, or in pairs, or alone. The volume opens with a sea change, as during a group barbecue Aika accidentally gets her hair set on fire, leading to a need for a haircut. Given that Aika’s crush on Alicia has involved her trying to grow her hair out, this feels a bit like the author trying to metaphorically move on from that static point and have Aika grow (going to visit Al makes her all flustered – the manga is content to tease yuri ships, but will never actually go there). Alice also gets a couple of good arcs here, as she’s the youngest and most immature, so her stories can be more straightforward – although an entire arc which amounts to “you should smile more” feels weird these days.

That said, it’s hard to get away from Akari’s charm, and she is still the linchpin that the series revolves around. This despite the fact that her characterization is actually the least developed – she’s never going to stop being the somewhat naive girl who finds joy in everything, as that’s what we love about her. I’d argue she could be a little more self-aware – the chapter where she hears about a ghost who spirits women away when they take her for a boat ride, then literally does exactly that and has to be rescued by Cait Sith, makes you smack your head a bit – but heck, even everyone around her spends time simply watching her walk around. The best chapter in the volume has Aika and Alice follow Akari around for the day to see what makes her special. (The answer is “she has “slow life” powers, and also the ability to be lovely to everyone even if she’s meeting them for the first time.)

There’s much more here to talk about, including the disturbing revelation that Akatsuki’s mother looks just like Aika, but the point is that this is new Aria, and it’s awesome, and you should go buy it, if only to ensure that the entire series can finally come out in North America this time.

Konosuba: An Explosion on This Wonderful World!: The Strongest Duo!’s Turn

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By Natsume Akatsuki and Kurone Mishima. Released in Japan as “Kono Subarashii Sekai ni Bakuen wo!” by Kadokawa Sneaker Bunko. Released in North America by Yen On. Translated by Kevin Steinbach.

First of all, I want you to know that placing that exclamation point in the title where it belonged according to the cover art wounded me deeply.

The KonoSuba Explosion series has tried its best to be a dedicated prequel, but the end of this third volume finally has to take us into the main series proper. Most of it is spent with Megumin, on the outskirts, watching the wacky antics of Kazuma and Aqua. She’s trying to join adventurer parties, which are all desperate for spellcasters, but not her specific type of spellcaster. No one wants the girl who only knows how to fire off giant scary explosion and destroy property. Admittedly, she is faring better than Yunyun, who no one will approach because she’s too intense (read: desperate), and those who do approach her turn out to be predators. (Yunyun states she’s thirteen years old a lot in this book, a fact that I had conveniently erased from my brain but now it’s there again, being creepy and awful.) By the end of the book, after disparaging them so much, Megumin may finally be able to admit that what a girl like her needs is a party of idiots.

While genuinely a dedicated prequel, this series is also quite happy to set up events that we already know about in future books, such as Wolbach and Host, who is already having enough trouble dealing with Komekko without being forced to deal with even MORE Crimson Magic Clan folks. As is increasingly common in her character in these books (we don’t see all that much of this side around Kazuma), Megumin acts rude and nasty at times to cover up her own embarrassment at having to admit love and affection. This even applies to Chomusuke, who she at first talks about happily sacrificing before admitting that she’ll do no such thing. And of course it isn’t just her – the one major trait she has in common with Yunyun, who is otherwise a comedic punching bag, is their inability to deal with talking about who they like.

This pays off in a scene near the end, when Megumin (pretending to be asleep) actually hears just how much Yunyun respects Megumin and how cool she thinks she is. Of course, she then uses a sleep spell on Megumin so that she can go off and sacrifice herself, but it’s OK, the emotional moment was there – as Megumin will remind her over and over again. This book also has the job of separating the two here, given that when we first meet Megumin in the main series, Yunyun is nowhere to be seen, and it does a pretty good job, though not as well as it handles Megumin. Yunyun is a character that requires a certain balance to have the reader sympathize with her but also laugh at her, and the author, let’s face it, leans too far to one side much of the time. I worry, as does Megumin, how Yunyunn will fare on her own, but as seen in the main series, she’s still OK, if suffering.

And so this series comes to an end… except there’s a sequel to it out soon, KonoSuba Explosion Bonus Story!, which will tell us about events prior to Book 10 and why the princess looks up to Megumin so much. It should be silly and fun, with a small touch of heartwarming. Which is what you get with these books.

Ascendance of a Bookworm: I’ll Do Anything to Become a Librarian!, Part 3: Adopted Daughter of an Archduke, Vol. 1

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By Miya Kazuki and You Shiina. Released in Japan as “Honzuki no Gekokujou: Shisho ni Naru Tame ni wa Shudan wo Erandeiraremasen” by TO Books. Released in North America digitally by J-Novel Club. Translated by quof.

I was expecting great changes with this volume. When last we saw Rozemyne, she had had her past altered to make her the daughter of a noble, was then secretly adopted by another noble (who was also the archduke), and was getting ready to move to the noble part of town… while also maintaining her businesses, finding ways to employ the temple’s orphans, and assuming the role of high bishop. Some of the things that I was expecting did actually happen. Rozemyne had a bit of culture shock when she came across noble attitudes, and they in turn were unprepared for both Rozemyne’s health and her ways of thinking. She would start her high bishop duties and give lots of blessings, which would stun those who witnessed it both because of her age and then because of her ridiculous amounts of magic. What I did not expect, and this is totally a failure on my part, was Rozemyne organizing an idol concert.

Actually, there was a lot that did NOT happen in this book, which seems to want to give Rozemyne an easier time of it than the previous books. After the terrifying battle that ended book 7, this seems sedate by comparison. Rozemyne has to get used to her new family, including winning over Elvira, who is her new mother now… and it goes quite well, mostly as Elvira is a Ferdinand fanboy and will happily do anything he says, but also as Ferdinand has been grooming Myne this entire time to prepare her for her role as Rozemyne. (I will admit the grooming does worry me a bit. Given that Books 22 and 23 still show Rozemyne as a child, I don’t think romance is in the cards here, but it is suggested once or twice that Ferdinand and Rozemyne should be a couple, and please, no.) Ferdinand is even prepared for Sylvester’s spoiled son to not “get” that Rozemyne can’t run around, and has a solution – let her almost die in front of the boy.

Then there is the concert. I must admit, given what I’ve been writing about him in this review, I did feel Ferdinand sort of deserved what happened to him. That said, it’s also a terrific way to show that Rozemyne is not done coming up with innovative ideas just because she is now a noble. Her old ideas are also still going strong, of course, and I appreciated that Benno, Lutz, etc. did not simply vanish. (Myne’s old family appear slightly less, but they are also there, especially Tulli, who gets to learn manners from a most welcome tutor.) But Rozemyne needs money, and the idol concert was the best way to do it. I really enjoyed how she was able to spot, based on the reactions of the noble ladies to Ferdinand, that there would need to be attendants on hand for when they fainted. And the special final guest was also hilarious.

So far so good, then, but I expect trouble has not abandoned Rozemyne completely. In any case, if you enjoy books at all, light novels or no, this is a series that you should be reading.

The Extraordinary, the Ordinary, and SOAP!, Vol. 2

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By Nao Wakasa and ICA. Released in Japan as “Hibon, Heibon, Shabon!” by ArianRose. Released in North America by J-Novel Club. Translated by Emily Hemphill.

It has to be said, the hero and heroine of The Extraordinary, the Ordinary, and SOAP! are firmly in the ordinary category, and I feel would not be able to carry a typical shoujo romance on their own. The feelings between the two are, thankfully, resolved in this second volume, as Lucia is finally made to realize that she is the one Celes loves, and Celes is forced to admit his feelings out loud and straightforwardly rather than hoping that Lucia magically understands his heart without doing anything. This is even resolved in a pretty typical way, involving the two being separated from the rest of the cast by a brief disaster and having to make it on their own to catch up. Don’t get me wrong, they’re cute and I’m happy to see them get together, but Lucia x Celes is not the reason this got licensed. There are a couple of other reasons, the first being the premise itself.

I said this in the review of the first volume, and I still feel this way: I really like the fact that this is an isekai that takes place from the POV of someone from the fantasy world itself. Lucia, being the heroine, is of course big of heart and able to read emotions easily (I am hoping this isn’t just because she’s the only woman in the group, but yes, it probably is), but she also has her soap powers. And those powers, as it turns out, are perfectly capable of taking care of the cursed land that they brought in Maria specifically to fix. This leads to a great crisis for Maria, which I’ll get into in a bit, but it’s also a really good look at how quick these sorts of novels are to simply reach out to modern-day Japan to grab a savior rather than trying to address things on their own. It’s made even worse given that there is a conspiracy going on about the fate of Maria, the summoned heroine.

Maria is designed to be disliked by readers at first, with the theory being that we will gradually come to understand her as she grows as a character. That’s a hard hurdle to clear, however, especially with anime and manga fans, where you never get a second chance to make a first impression. Fortunately, the series plans to follow through for us, though admittedly it does so by taking Maria down even lower. Not only has she been pulled into a scary fantasy world and threatened by deadly monsters, but it turns out the nicer, bustier maid girl can actually save the day better than Maria can. When she hears the prince and his brother discussing having her killed (it turns out later she’s missing crucial information, but honestly, not that much – I worry how the return to the kingdom will go), she lashes out at Lucia with possibly tragic consequences. Her redemption might go a tad fast (Lucia is the heroine and gets the majority of the chapters), but it is there and welcome.

This series ends with the third volume, which seems about right given we’ve purified two thirds of the points we’ve been supposed tom, and the couple have confessed. Lucia and Celes may be typical, but the book they’re in has enough spiky edges to impress.

Infinite Dendrogram: The Forms of Love

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By Sakon Kaidou and Taiki. Released in Japan by HJ Bunko. Released in North America by J-Novel Club. Translated by Andrew Hodgson.

At long last, after a year’s time, including a volume of short stories and a prequel, we are back with the main plot of Infinite Dendrogram. The plot itself involves a lot of setting things up for future books, though we also get one we’ve seen before, which is that the admins do not all get along with each other, and some of them are perfectly willing to destroy people’s lives if it means that they get to see their players evolve into a higher and stronger level. Once again, you are trying to figure out: is this a game? Is this some world pretending to be a game? How “real” are the NPCs? Certainly Ray has no issue with treating them as real, something which the princess appreciates, as she’s trying to get her little sister married off and out of harms way. Sadly, she’s as socially inept as every other woman in Ray’s orbit, so goes about it in exactly the wrong way.

There is also another plotline going on, and to be honest it involves one of my least favorite parts of the short story volume, which is the woman who was spurned by her real-life lover, so goes around destroying couples. She’s finally out of jail, and desperate to meet Figaro, who everyone realizes she is desperately in love with. The issue is that everyone is pretty sure that Figaro would much rather duel her than woo her, if indeed he’s realized what she’s after at all. What follows is admittedly predictable, but also probably the best part of the book, and reminds you that it’s not always wise to assume that characters who are super-focused on one thing are ALWAYS focused on that one thing. And, if nothing else, certainly provides contrast with Ray Starling, who may be our hero but can’t even dress himself properly, let along realize how many girls like him.

It has to be said: Ray may be a college student, but in terms of emotional depth he’s more like Tsukuyo than, say, B3. He is a chuuni, something Nemesis is trying to point out to him when she desperately attempts to get him an outfit that does not scream “bwa ha ha” but can’t quite make it. Of course, it’s that straightforward chuuni part of him that also lets him win the day – going up against a villain who loves to watch people’s emotional reactions to things, especially if it’s tragedy, Ray is simply pissed off beyond all measure, and manages to not only hand the guy his ass but also terrify him. (Given he has constellation-based powers, I sort of wanted Lucy from Fairy Tail to show up and beat his ass.) Admittedly, given what we’ve seen of Shu (whose past as a sentai actor is gone into here) and his oft-mentioned, never-seen older sister, Nemesis may have a long wait.

As I said, there’s lots of setup here, and not all of it has payoff. This has the feel of a story that’s nowhere near done, and provided the anime didn’t kill the franchise, we should be able to enjoy it for some time to come.

Arifureta Zero, Vol. 4

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By Ryo Shirakome and Takaya-ki. Released in Japan as “Arifureta Shokugyou de Sekai Saikyou Rei” by Overlap Bunko. Released in North America digitally by J-Novel Club. Translated by Ningen.

I do sometimes worry that the author of the Arifureta series has forgotten why we’re reading it in the first place. In regards to the original series, it’s to see Hajime’s ludicrous overpowered antics and the wacky banter between him and his companions, and with Zero it’s the exact same thing only it’s Miledi. The main series has more harem romance to it than Zero, which seems content to tease only Oscar and Miledi and not have it go further, but, well, romance isn’t why I read it, at least. And, in regards to this volume of Zero, while I can appreciate the author writing some really cool battle scenes because he enjoys it, with lots of the bad guys and good guys bringing out increasingly ludicrous powers, fight scenes are not why I read Arifureta either. Sadly, that makes this volume a big ol’ slog, as a good eighty percent of it is battles.

We head into the forest that we’ve seen in Arifureta’s 2nd volume, home of the Beastmen, and here (at least at the start) at the height of its powers. Well, half the group are here. Things have gotten dangerous enough that Miledi’s Angels split up at this point, with Oscar and Vandre helping to settle everyone from the last book, while Miledi and the others head to the forest, there to meet their next potential Liberator, and also try to stop the battle, as the Church has gotten there first. Speaking of the Church, Laus is continuing to have doubts over what they’re actually doing, and things are not helped by the Church’s religious fervor taking on more and more aspects of brainwashing. Can he continue to fight for something he doesn’t believe in any more? Or should be change sides and joining the Liberators.

I will admit, which I said that I wanted more wacky antics and less fights, when we DO get wacky antics, I’m not sure they’re the ones I wanted. Lyutillus is the Elven Queen of the forest… and also a masochist. The author admits she’s meant to be a mirror to Tio in the main series, and given Tio is my least favorite of the girls in that, I wasn’t really going to be enjoying this. Better was Miledi’s usual stuff – when she’s deliberately trying to be annoying to distract the mood, it’s fantastic, and her confrontation with Laus towards the start of the book was absolutely hilarious. Laus, in fact, is the best thing about this book, as his loss of faith is very well handled. I’ve long since come to terms with the fact that the gods are villains in this world, therefore the fact that everyone in the Church tends towards being a monster is hardly a surprise. I am quite interested in seeing how this switching sides works out going forward.

…I say that, but we know how this is going to end – the main cast all dead (bar Miledi’s soul) and branded as heretics. The bad guys win is the premise of this. But we’ve still no idea how long it’s going to be, and I’m happy to see it play out. As long as it’s not just fights. Or creepy sexual gags. Sigh. Not gonna have much luck there, am I?

Full Metal Panic!: Continuing On My Own

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By Shouji Gatou and Shikidouji. Released in Japan by Fujimi Fantasia Bunko. Released in North America by J-Novel Club. Translated by Elizabeth Ellis.

Fans of the anime did not notice this as much, but the main series of Full Metal Panic! Novels very quickly dropped most of the humor from the series. Metatextually, the reason for this is the author started a series of side story volumes with short stories that contained all the wacky shenanigans and being hit with paper fans that anyone would need. Indeed, they even did a separate anime series, Fumoffu, that adapted many of these. But they also funneled some of them into the main series, which is good, because without it the series gets unmistakably grim. As this volume attests. The author urges in his afterword that we should not call it depressing, but yeah, sorry, it is depressing. This story of a child soldier whose hands are stained with blood and a girl who is essentially an esper superweapon has reached the point where “high school” has to end. And so it does.

Even the school is aware of this – early in the volume, Sousuke is approached by the outgoing Student Council President, who notes that he’s used his position to cover up Sousuke’s very obvious paramilitary activities, but the incoming council won’t be able to. Unfortunately, before he can do anything about this, Leonard has made his move, destroying most of Mithril and taking out several minor members of Tessa’s crew (so far, Mao and Kurz seem OK). As this happens, Leonard shows up at Kaname’s apartment and tells her “come with me”, and when she refuses and she and Sousuke flee, he responds by taking the school hostage and strapping bomb to Kyoko. Make no mistake about it, this is a supervillain who knows how to get what he wants. Much as Sousuke would wish otherwise, you can guess how Kaname responds to this.

As I said, this book is another series of gut punches, as Sousuke’s support structure is decimated, the school he’s grown fond of now knows who he is, and the woman he loves is now in the hands if the enemy. The final scene involves him showing up in class after all this has occurred, to the horror and disgust of most of the students, and telling them that he plans to bring Kaname back, and also to hate him rather than her. Understandably, because he loves Kaname he also wants to protect her “normal” life. That said, Kyoko’s in the hospital, the staff of the school is, blame or no, unlikely to let Kaname return… I dunno, I feel we’ve turned a corner here. In any case, I expect the next book will involve trying to figure out where Kaname is – I really hope she gets to do something besides be a damsel.

I’ve left out the battles here, which are quite well written and awesome – by this point, the author was writing with an eye for the anime, and it shows, though he’s always had a bit of that in his works. We do also get one major casualty in this book, which I don’t want to spoil, but after everything that’s happened in the last four it feels sadder than I expected. This remains a solid series, but there will be absolutely no bear mascots going forward – FMP is serious business.

Neon Genesis Evangelion: Anima, Vol. 3

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By Ikuto Yamashita. Released in Japan as “Shin Seiki Evangelion Anima” by Kadokawa Shoten, serialized in the magazine Dengeki Hobby. Released in North America by Seven Seas. Translated by Nathan Collins. Adapted by Peter Adrian Behravesh.

Fans of the Evangelion Anime light novels will be pleased to hear that there is not quite as many millions of people turning into pillars of salt in this volume. Indeed, the focus turns a bit narrower, as we are very much concerned with battling the enemy, which has stolen Shinji’s heart. That said, are they an enemy? The various troops certainly think so, and the nations have now teamed up to battle the Angels and their spinoff monsters. Unfortunately, biblical imagery is still the main way to attack in this series, and so very quickly no one is able to understand one another, reminiscent of the Tower of Babel. As for Shinji… who is the real Shinji? Is it the one who’s fighting in Super-Eva for most of the volume, with at least one Rei there next to him (though not always the SAME Rei)? Or is it the heart that makes someone who they are?

Asuka certainly thinks so, though to be fair she spends almost all of this book in a sort of primal mode, her experiences from the second volume having merged her with her Eva (as the art within makes abundantly clear) and her personality vacillating between ‘small child’ and ‘adorable pet’. She’s got company, however, as with the Americans coming into the picture we’re introduced to Mari in this continuity. Mari has been experimented on by scientists, and now functions as a wolf pack, complete with actual wolves. She’s not quite as primal as Asuka, but it is noteworthy that the two are paralleling each other again. And Shinji ends up swapping Reis, as Trois’ self-sacrifice butts up against Quatre’s emotional instability and they essentially swap roles. This ends up being very good for Quatre, who was so angry she reminded me of Asuka at times, but I worry about Trois.

As you might guess by the fact that I’m actually discussing characters, this is a better volume than the first two when it comes to actual introspection and things that are not giant robot allegorical battles. Not that there aren’t plenty of those as well – they’re still the main reason to get the book. But this volume is not as frenetic as the first two, and pauses to take in Hikari and Toji’s romantic yet also battle-torn meeting (Toji also gets his arm back – which is both good and bad) and Misato briefly dealing with essentially being a damsel in distress for most of the second book. This book, as with the others, ends with a cliffhanger, and it will be interesting to see how it pans out – heck, this is Evangelion, we could actually see the Angel with Shinji’s heart take over the narrative as Shinji. It works metaphorically, after all.

There have been so many Eva spinoffs it’s hard to compare them. This is better than the first two books, but I’d still say it’s best for fans of the design and mecha work more than anyone else.

Fushigi Yugi: Byakko Senki vol 1

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Fushigi Yugi: Byakko Senki Volume 1 by Yuu Watase

The Fushigi Yugi universe is one I’ve been following for a long time. Many of my earliest volumes are from the initial Viz release back in the early 2000s, so I felt very nostalgic reading the first volume of the last Fushigi Yugi story 20 years later. While there have been glimpses of Suzuno before in previous series and the anime, seeing an entire series devoted to her seems like a fitting way to finish out the Universe of the Four Gods.

This first volume is structured as a prequel within a prequel, giving the reader insight into Suzuno’s character as both a child and a young adult and setting up an intriguing conflict that I expect to see explored more in future volumes. As Fushigi Yugi: Byakko Senki opens, a young Suzuno is spending time with her parents. Her father has the volume of The Universe of the Four Gods, burdened with the tragic legacy of Takiko Okuda and her professor father. As the Great Kanto earthquake strikes, Suzuno is trapped in her burning house and her father sends her into the book in order to save her life. In the Universe of the Four Gods, Suzuno is clearly unable to fend for herself, but she meets up with some people who are surely going to be pivotal figures in her life – Neiran, a psychologically damaged woman who can turn into a tiger, and the brothers Kasal and Karm. After narrowly escaping being kidnapped, Suzuno travels for a little bit with her new companions who begin to suspect that she might be the fabled priestess of Byakko.

Suzuno travels back to her own world in the aftermath of the earthquake, and the story line shifts to show her as a young woman, quiet and artistic and plagued by enduring visions and memories of what she’s lost. A shy, retiring heroine forced to adapt to a mystical new world isn’t exactly a novel plot point, but the overtones of impending tragedy and Suzuno’s resilience in difficult situations immediately make her an engaging heroine. Watase’s art is always clear and engaging, and I’m looking forward to seeing her portrayal of Suzuno’s mystical warriors and the unique world of the Universe of the Four Gods. This first volume mainly established Suzuno as a fully-fledged protagonist and I’m fairly happy with that pacing even though I put it down feeling a little impatient waiting to get started on the rest of the story. While I think is possible to enjoy this series without reading other Fushigi Yugi stories, I think at minimum someone reading Byakko Senki should be familiar with Genbu Kaiden, and hopefully the main series that started off this 20 year old saga.

The Girl with the Sanpaku Eyes, Vol. 1

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Google the term sanpaku, and you’ll quickly discover why the word resists easy translation. In its most basic sense, sanpaku means “three whites,” a condition in which the iris sits a little higher or lower in the eye than normal, exposing more of the schlera. The significance of having sanpaku eyes, however, seems hotly contested, with some websites proclaiming it a curse and others declaring it evidence of great emotional turmoil. The heroine of Denpa Books’ newest series is neither doomed nor crazy, just deeply frustrated that her chronic Resting Bitch Face makes it difficult to show Katou, her crush, how cool and awesome she thinks he is.

Perhaps the most surprising aspect of The Girl with the Sanpaku Eyes is the artwork. The illustrations are rendered in a warm, pink palette that captures Amane’s agitation more effectively than deformations and sweat drops alone could do. The character designs are somewhat generic—Katou is a standard-issue shojo prince, right down to his mega-watt grin—but Amane and her siblings are drawn with genuine individuality, revealing their shared family curse: all three look meaner than they are. Amane, in particular, stands apart from her galaxy-eyed peers with her cat-like pupils and scowling expression that make her look more like a bosozoku gang member than a sweet, timid high school student.

Though artist Shunsuke Sorato convincingly shows us how flustered Amane becomes in Katou’s presence, there’s almost no dramatic or comedic tension in this series; by chapter three, it’s obvious that the sweetly hunky Katou likes Amane, too, and is eager to reciprocate her affection. Therein lies the biggest problem with The Girl with the Sanpaku Eyes: the story is so one-sided and predictable that it barely registers as a rom-com, since there’s almost nothing at stake in Amane and Katou’s exchanges. For middle-school readers navigating a first crush, Sorato’s storytelling approach will feel reassuring, but for older teens The Girl with the Sanpaku Eyes may be too anodyne to be truly engaging.

A review copy was provided by Denpa Books. Volume one will be released digitally on August 25th at the Denpa Books website and September 1st on additional digital platforms. The print edition will be released on September 15th.

THE GIRL WITH THE SANPAKU EYES • ART & STORY BY SHUNSUKE SORATO • TRANSLATED BY DAVID GOLDBERG • LETTERING BY GLEN ISIP • DENPA BOOKS • 128 pp. • NO RATING (SUITABLE FOR READERS AGED 10+)