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Didn’t I Say to Make My Abilities Average in the Next Life?!, Vol. 8

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By FUNA and Itsuki Akata. Released in Japan as “Watashi, Nouryoku wa Heikinchi de tte Itta yo ne!” by Earth Star Novels. Released in North America by Seven Seas. Translated by Diana Taylor. Adapted by Maggie Cooper.

It has to be said, our four heroines are getting just a wee bit famous, especially when they return to the area near where they went to hunter’s school. Sometimes this is good, as it means that we don’t have to have quite as many reaction shots of everyone boggling at their OP selves. And sometimes this is bad – for them, at least, as the funniest scene in the entire book as them running up against a guild master who saw their final exam battle way back in the early volumes. And bought the figures. With poses that… seemed cool at the time. Though it may not look like it, our heroines are slowly growing up, and part of that process is looking back on the dumb things you did in your youth and cringing. And nothing hammers this home quite like a figure of you in a dorky pose you thought was really cool being venerated by a creepy middle-aged man.

The book is divided into four large sections. The first has Mile and company returning to her homeland to save the kingdom. The interesting thing here is that, because of Adele’s sheltered upbringing both before and after her mother’s death, no one remembers her very well. So when Mile shows up, she’s actually assumed to be her late mother, literally returning from heaven to help them. (The best part of this is finding out that Mabel, Adele’s mother, was basically the spitting image of her daughter, and was also highly eccentric. Even without the reincarnated memories, Mile would still likely have been Mile.) The invasion is handled relatively easily, and starts up a nice running gag of Pauline and company charging everyone for food and drink that they desperately need. The second section has them returning to base… and immediately setting out again, before they can be married off or otherwise ensnared.

The third section has Mile and company, along with two other hunting parties, helping a group of soldiers battling an infestation of monsters that are sent by the neighboring enemy kingdom. This is probably the weakest section, and drives home the point that our heroes needs stronger enemies or they risk being bored… and having the reader be bored as well. The final section leads to a cliffhanger, and has the Crimson Vow go to a village of dwarves, who are unable to craft their materials anymore as the mountainside is infested with orcs and ogres. Abnormally strong orcs and ogres. This works very well as Mile is genuinely startled by this, and actually encourages everyone to fight their hardest. It promises a strong beginning next time. It also shows off something relatively rare: Mile plans ahead for the village by buying a lot of high-quality alcohol to sell to the dwarves, and… then sells it, despite the lampshading about it being the perfect plan. I was waiting for it to go wrong.

The anime adaptation of the series has now begun, and I hear adds a lot more fanservice. This volume does, like the previous ones, talk about everyone’s breasts more than anyone cares, but other than that (and Mile’s ludicrous Goddess costume) is content to let the characters and humor drive the book. A lot of fun.

Urusei Yatsura, Omnibus 4

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By Rumiko Takahashi. Released in Japan in two separate volumes by Shogakukan, serialized in the magazine Shonen Sunday. Released in North America by Viz Media. Translated by Camellia Nieh.

I’ll be honest, I wasn’t looking forward to this volume quite so much. Don’t get me wrong, I love UY with all my heart. But I knew we were going to get a heaping helping of Ten here, and Jariten has always grated on me. That said, as I re-read these manga chapters, he didn’t come off quite as badly as I’d expected. The thing is, Ten was SUPER popular when he first appeared in Japan – if not with the readers, then definitely with the animators of the soon-to-come anime series, which took the liberty of inserting Ten into the third episode and having him shoehorned into most episodes after that. But “bratty little kid” has always been a harder sell in the West, particularly if they’re not the ‘sarcastic adult’ kind of brat – look at the four or five failed attempts to sell Crayon Shin-chan here. So it was always hard for me to not just grit my teeth. But here, in the manga chapters written specifically for him, he’s a lot of fun.

Ten, like Mendo before him, is meant to set up a basic truth of the series. Many of the male characters are set up to be contrasts to Ataru, only for it to turn out in the end that they’re exactly the same as Ataru. Ten is a “cute little baby” to most of the women around him, which he uses shamelessly, as he notes he’s not into young girls his own age. (What age that is is left up in the air – he certainly seems very angry when someone calls his tiger skin a diaper.) But of course, Ataru never gets anywhere with any girl not named Lum, and the same applies to Ten – sure, he can snuggle in some bosoms, but he’s essentially just as much of a sad sack as everyone else in the book. He’s also naive enough to be taken in by Ataru’s really, really obvious schemes – see the chapter where he and Sakura go on a “date” that is meant to have her beat him like Ataru but doesn’t work as Ten is a x-year-old boy.

Elsewhere, Ran settles in as a main cast member, though when the focus isn’t on her, her characterization can vary – during the poetry competition, she seems like a different person! There’s a 3-chapter arc set during the Heian period… sort of, note they’re all watching TV and have electricity… which is basically there to show that the cast’s crazy adventures are timeless. Probably my favorite chapter is one where Ataru has made an “anti-teenage gang” movie for the school. It’s absolutely terrible, and Mendo tries to have it destroyed, but instead, thanks to Lum’s alien projector, the delinquents in the movie come to life and terrorize the school… then fend off an invasion by delinquents from another school. From seeing the main cast dressed up as stereotypical delinquents, to movie-Ataru’s ‘LOVE AND PEACE!’, to movie-Lum and Shinobu literally being able to fire huge missiles from under their skirts, it’s pure Takahashi hilarity.

With Ten’s arrival, we’re almost at UY’s middle period here. Takahashi has settled in and is doing what she does best – writing zaniness. Anyone who loves seeing what comedy manga was like at its peak should be reading this.

Do You Love Your Mom and Her Two-Hit Multi-Target Attacks?, Vol. 4

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By Dachima Inaka and Iida Pochi. Released in Japan as “Tsujo Kogeki ga Zentai Kogeki de Ni-kai Kogeki no Okasan wa Suki desu ka?” by Fujimi Fantasia Bunko. Released in North America by Yen On. Translated by Andrew Cunningham.

There is a certain weariness to this volume of Do You Love Your Mom?. The author implies at the afterword that they had not expected this series to run quite as long as this, and taking that one gag and making it go over and over is hard. It shows in this volume’s villain, who manages to make the villain of Book 3 look competent. She has one trick, and when it doesn’t work she essentially whines and moans. There’s also a pile of mothers who are lured into the plot because, well, they’re not all that good at being mothers. It’s meant to set up the final moral, which is that it doesn’t matter if you’re bad at cooking and sewing as long as you have feelings for your children, but I do wonder: are there any dads in this world at all? Why can’t they do the housework? It likely won’t come up, as the premise is moms and children, but I am curious.

Our heroes wind up in Casino Town, and the goal is immediately to get rich so they can buy items and not have Mamako steal all the glory and level ups. Naturally, this goes badly. Masato and his mom end up going on a day-long date where Mamako dotes on him to a hideous degree (the entire “let me wash your back” scene can just go away), while the other three try to cheat at the casino and are immediately captured and converted into bunny girls. Yes, even Porta. Now Mamako and her son must invade the casino to win back the others, and also find out about a sinister plot that involves the mothers of this town disappearing, and their children imprisoned. Fortunately, Mamako has had an entire day of spoiling her son, so her mom powers are higher than they’ve ever been…

I am, as always, most pleased by the appearance of Shiraaase, a one-gag character whose gag never gets old to me. (Oddly, her gag seems stunted in this book, possibly as the villain talks in looooong, draaaaawn-out vowels and thus Shiraaase holds back to avoid confusing the two of them.) She even manages to achieve things before getting thrown back in her coffin. Speaking of which, the most satisfying scene of all may be one where Masato has to get through an army of skeletons to get at the big bad. He’s alone, and the fact that he actually has to rely on his own strength and weapon makes him so happy that he simply mows them down like they’re weeds. Now, this is undercut by the Big Boss essentially letting up on him because of a mom thing, but hey! He briefly did a thing!

The series is 9 volumes and counting in Japan, so any danger of the main plot wrapping up is nil. And the fanservice aspect of the series is, to be blunt, really irritating. If you really like Shiraaase or enjoy the main conceit, it’s still worth reading, but if you’re looking for a series to drop as it’s not good enough anymore, this one works fine.

Altina the Sword Princess, Vol. 1

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By Yukiya Murasaki and himesuz. Released in Japan as “Haken no Kouki Altina” by Famitsu Bunko. Released in North America digitally by J-Novel Club. Translated by Roy Nukia.

We live at a time when most light novels are trying to get readers attention by a gimmick. It might simply be an excessively long title. It might be a premise so ridiculous that people buy it out of curiosity. It might be piling on the fanservice or ramping up the angst and violence. As such, it’s refreshing to see a series that has a normal title, a normal plot and normal characters. I’m not criticizing here: this really does feel refreshing, coming across as a simple medieval fantasy, lacking even magic (so far) and relying on its two leads to make the reader stick around. (It helps that this series began in 2012 in Japan – its title might be more elaborate were it to come out nowadays.) An overly reckless princess, a needlessly self-hating strategist, and a fort in the middle of absolutely nowhere. No bells, no whistles, and I quite liked it. It does have a very snarky maid, I will admit. But that’s all.

Regis is an administrative officer who’s been demoted… well, OK, reassigned… to the northernmost provinces after a tragic battle that saw his mentor get killed. He is quick to take all the blame on himself, and in fact has a case of self-hatred that seems ridiculous and one suspects stems from some childhood issue. Once near the area, he finds, to his horror, that books up north are rare and expensive – he’s also a book nut. Fortunately, he runs into a girl headed to the fort who can take him there on her coach. Given she asks him to call her Altina, the reader is not in the dark about her identity, but Regis is, at last till they run into a blizzard and are attacked by wolves. So he’s met the princess and settled in… but can he get anything accomplished? Especially as no one at the fort takes Altina seriously?

This is by the author of How NOT to Summon a Demon Lord, which worried me briefly, but it seems the author is quite good at writing to his intended audience. There’s a brief scene of Regis walking in on Altina changing, but that’s about all, and the fact that she’s fourteen, and thus too young to think of romantically, is constantly in his head. Which is good, as I think they both need to mature a bit. Regis desperately needs to have some good things happen to him to get rid of the “everything I do sucks” mentality, and Altina is going to get herself killed one day by her impetuous behavior. Her final battle with the fort commander, which has “if I win, you listen to what I say” as the prize, is very nearly a savage beatdown for her, and she’s saved mostly by her ludicrous sword (which, to be fair, is wielded by her ludicrous strength).

There’s clearly a lot of backstory here, some of which is given in this volume, involving the empire and its current power struggles among the sons and daughters. Altina’s goal of “don’t get married off to become a trophy wife” is a good one, and I look forward to seeing more of the family in future volumes. There’s nothing in this book that really knocks it out of the park or anything. But it’s a very solid read with likeable flawed people, and the flaws don’t irritate. Definitely getting more of this.

My Youth Romantic Comedy Is Wrong As I Expected, Vol. 8

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By Wataru Watari and Ponkan 8. Released in Japan as “Yahari Ore no Seishun Rabukome wa Machigatte Iru” by Gagaga Bunko. Released in North America by Yen On. Translated by Jennifer Ward.

I have to hand it to the author, they are very very good at making me, as a reader, feel thrilling highs and desperate lows. Unfortunately, due to the nature of this series as a whole, each book always seems to end on a low, and so I often end up being depressed after a new volume of it. That said, I do still want to learn what happens next, even if I suspect it will once again be a journey where I grind my teeth and yell at everyone to actually have a decent talk with each other. But the nature of our three protagonists is such that that’s not going to happen – if they did, the series would have ended back at Vol. 3. Instead, buckle up for another adventure with Hachiman, whose cynical and roundabout narrative voice make me want him to meet Zaregoto’s Ii-chan someday. On the bright side, when he suggests his one solution to any problem, people are finally there to tell him to take his idea and shove it.

The soccer club manager we met in the short story volume has been nominated for Student Council President. She doesn’t want to do it, but also doesn’t want to deal with fallout of her dropping out or sabotaging herself. So she asks the club to help out. Hachiman suggests writing a bad speech so that everyone blames the speechwriter (him). This goes over like a lead balloon. Instead, first Yukino and then Yui decide to run against her, which will solve the problem, but also mean they likely would not be in the club any more. This also leaves Hachiman with nothing to do. After the middle of the book, which I will get to in a bit, he bands together with the rest of the main cast and comes up with a third option: convince Iroha that she really WOULD be a good Student Council President, thus removing the original request. Sadly, he does this without thinking of Yukino or Yui, particularly Yukino, and the result is the worst victory ever.

That said, the best reason to get the book are two scenes in the middle of it. The first has Hachiman and Hayama on the double date from hell, as his old classmate from middle school, Orimoto (the one he confessed to) and her friend want to get in with Hayama and he begs Hachiman to come along as he clearly doesn’t want to deal with this. After spending most of said date listening to Orimoto mocking and belittling Hachiman, Hayama snaps and tears them apart, pointing out the close relationships Hachiman has gained in high school. Tellingly, Hachiman is more upset by this than anything else. The second scene, my favorite, has Hachiman, at his lowest ebb, returning home and coming across Komachi, who he’d had a fight with at the start of the book. They make up quickly, and the ensuing conversation that follows is possibly the warmest, most heartwarming scene he’s had in the whole series to date, as he asks Komachi for her help and she talks about how worried she really is for him.

So the middle will make your heart grow three sizes, and the ending will make your face turn pale. But that’s typical of this series, which might better be called My Youth Romantic Soap Opera Is Wrong As I Expected. Like most soap operas, it makes you want to read the next book.

Don’t Toy with Me, Miss Nagatoro, Vol. 1

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By Nanashi. Released in Japan by Kodansha, serialization ongoing in the magazine Magazine Pocket. Released in North America by Vertical Comics. Translated by Kristi Fernandez.

One of the bonuses that come with buying a volume of the manga that you’ve already read in a magazine or online is the interstitial art that goes in between each chapter. Many manga, particularly comedies, tend to have these, usually little ‘tags’ that follow the chapter, meant to add something to the reader’s perspective or give them another good laugh. Sometimes it can be fairly pointless, but sometimes it’s actively welcome. Don’t Toy with Me, Miss Nagatoro is definitely a case of the latter. The interstitial art for the first few chapters shows a blushing Nagatoro, rushing away from the scene, wondering if she got her point across or took things too far. It makes it very clear that her previous actions were based on “girl who teases the guy she likes”. This is important, because, while it has righted itself by the end of the volume, the initial chapters of this series skew waaaaay too far towards the “bullying” end of the spectrum rather than “toying with”.

The protagonist is unnamed, as far as I can tell, and is generally called ‘senpai’ by the other lead, Nagotoro. He’s a bit of a schlub, and has a hobby of drawing manga. One day his underclassman, Nagatoro, discovers this and proceeds to grab his manga, read it aloud, and mock it mercilessly. As the volume goes on, she proceeds to take every opportunity possible to viciously attack him, and he is, understandably, feeling a little aggravated by this. Eventually, though, he discovers that she seems to only be like this with him, showing quite a different face to other guys that she’s around. What’s more, by the end of the book the reader, if not the senpai, realizes that she’s doing this because she’s got a crush on him. Of course, her methods may still involve bullying, but, well, that’s how she communicates, right?

There’s been a mini-genre in Japan of this sort of series, ranging from cute and innocent (Teasing Master Takagi-san) to unthinking and broad (Uzaki-chan Wants to Hang Out). Nagatoro takes a third tack. Nagatoro’s teasing verges on cruel, particularly at the start of the book, and if it had stayed that way I might have decided to drop it. It can be hard to get through. The tone softens as it goes along, if only a bit, though, and we start to see more of Nagatoro’s softer, more vulnerable side – and also see her get a bit flustered, particularly when she’s doing things like accidentally talking to her senpai via video chat. It’s important we come to like Nagatoro because unfortunately the senapi, as befits his lack of name, has far less character. He’s a bullied kid who cries a lot, and is quite good at art. If Izuku from My Hero Academia had given up on being a hero and gone to art school, he might be this guy.

So a bit of a mixed bag, but I like where the direction is going. We’ll see if it can keep it up.

Bottom-Tier Character Tomozaki, Vol. 2

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By Yuki Yaku and Fly. Released in Japan as “Jaku Chara Tomozaki-kun” by Shogakukan. Released in North America by Yen On. Translated by Winifred Bird.

Having started to successfully negotiate life the way that he does games, Tomozaki now runs up against more treacherous waters. Inviting a group out for a lunch accidentally turns into a shopping trip (MUCH harder for someone like him), and he has to ask his library friend out to see a movie, something that would be adorably cute but unfortunately gets derailed by the main plot. The main plot being Mimimi, the overenthusiastic and hyper classmate of his, running for Student Council President… against Hinami. As we discover that Mimimi has a long history of coming in second to Hinami, and see just how far above everyone else Hinami really is, Tomozaki decides that he wants to help Mimimi take her down by winning the election. But is he really good enough to do that now? And isn’t this just ignoring the larger issues that Mimimi has? More to the point, is being the best at everything really something you can criticize? All this, and it’s only the second volume.

We’d seen a hint of Mimimi’s hidden depths in the first volume, but the second one goes into far more detail. (My suspicion is that each girl on the cover art will be the focus of the book in question, so expect library girl to take center stage next time.) It can be hard to constantly find yourself hitting an insurmountable wall, and even harder when it’s a person. There’s a core of self-loathing to Mimimi’s behavior here, as she can’t see a way past what she’s doing without feeling angry with herself. The “what’s the second highest mountain in Japan?” question was a good way to demonstrate it to Tomozaki – with everyone watching Hinami at number one, who’s going to look at the next best? But, as we hear towards the end, Hinami has felt that anger and frustration as well – in fact, it’s what led to this entire situation. As Tomozaki says towards the end of the book, nobody did anything wrong here.

There’s also a lot of good stuff here about student council elections in Japanese schools, and how you have to balance what kids want vs. what teachers will let you talk about. The reader is absolutely meant to root for Mimimi and Tomozaki here. That said, the reader also suspects the result will be as inevitable as Hinami says it is. (I’m still not sure how the author wants us to feel about Hinami – getting a very “Medaka Kurokami” vibe about her.) And then there’s Tomozaki, who does make some good steps forward here (I really liked his buying the hair wax), but needs to stop framing everything as “this is what normies do” and putting himself outside that box. Also struck by a naïveté I was not expecting from him – even I knew what Mimimi did to Tama, but he’s baffled by it the entire book.

So, to sum up: I enjoyed the plot, I liked the characters, the writing felt smooth and readable (very good translation here), and it doesn’t feel quite as much like a self-help guide compared to the first. Overall, it was excellent. Cannot wait for the next book.

Daytime Shooting Star, Vol 3

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Daytime Shooting Star by Mika Yamomori

I’m still enjoying this manga that focuses on the subgenre of teacher-student romance, even though I think the teacher in question has terrible boundaries and the only way for this story to end happily is for Suzume to actually date someone her own age. Perhaps an elaborate time jump where Suzume and Mr. Shishio get together after she has completed college and done a stint in the Peace Corps would also work.

Daytime Shooting Star 3

I was trying to pinpoint why I like this series so much when other Shojo Beat series are more seriously tackling the nature of grief (Ao Haru Ride) or delving into teenage introspection while juggling a love triangle (Shortcake Cake), and I came to the conclusion that for some reason I’m more affected by the art in Daytime Shooting Star. There’s something whimsical about the way that Yamamori designs her characters that just causes me to find practically everyone in the manga adorable and sympathetic.

Suzume deals with an onslaught of emotions as she confesses her feelings to Mr. Shishio when he is asleep, only to realize that he was actually awake. She endures a torrent of teenage embarrassment, and her emotional state isn’t helped all that much when Shishio’s super cool ex-girlfriend starts hanging around again. While Suzume starts researching hypnosis to discover if she will be able to erase someone’s memories, she is able to process her feelings more by talking to Nekota. Suzume decides to get things out into the open with Mr. Shishio, but then ends up running into Mamura who clearly still likes her. Will Suzume’s role as the one girl who Mamura doesn’t seem to be allergic to lead to a new, more age appropriate romance? Both the teenagers and youngish adults in Daytime Shooting Star all seem to be dealing with their own emotional issues due to a variety of reasons, and it is interesting to see Suzume evolve and take charge of her life, even though she’s aware that some of her actions are going to lead to disappointment.

Mixed Bathing in Another Dimension: The Alluring Cave Baths

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By Nagaharu Hibihana and Masakage Hagiya. Released in Japan as “Isekai Konyoku Monogatari” by Overlap Bunko. Released in North America digitally by J-Novel Club. Translated by Sophie Guo.

I had to go back and reread my reviews of this series when the new volume came out, just to remind myself what had been happening. It’s been two years since the last book, mostly as the publisher caught up with the author’s webnovel, so had to wait for him to write more. I always recall that I enjoyed this nice, relaxing series, so I was surprised when I reread the reviews and found myself pointing out so many faults. But yeah, after reading Book 6, the faults are still there. The pacing of this series is so slow as to be soporific, there’s descriptions of breasts galore, everyone is so nice that they lack real character, etc. Despite all that, and the fact that I’ve forgotten who 3/4 of the cast are (the character page at the start only shows 6 out of about 24,975 named characters in this book) I still enjoy this nice, relaxing series. It’s easy to pick on, but hard to really hate. It also makes you want to have a good soak.

Touya and his party have arrived at the country of Ares, which is entirely in underground caves, trying to find somewhere they can safely put the cyclops people that are now displaced. After getting a blessing from the Goddess of Earth’s temple, Touya now has blessings from 6 goddesses, and his bath power means the area has now become a full-fledged hot springs inn, with multiple baths and three floors. Unfortunately, while touring the country, Touya accidentally awakens the Demon Lord, the very thing he was called to this world to prevent! Fortunately, as previous books have shown, the past was significantly rewritten by the winners, and additionally the Demon Lord is not really interested in destruction so much as bonding with his granddaughter. Unfortunately, other parties may have a different opinion.

As I said, it’s been two years since I read book 5 in the series/ In earlier reviews, I complained that Touya, in addition to his bath powers, also learned various magic and things, and complained he would be too powerful. Honestly, compared to other light novel protagonists these days, that fear is someone quaint. Tou8ya is not a fighter, he’s a facilitator, something made explicit when there’s a fighting tournament midway through the book, and not only does Touya not participate, he doesn’t even attend. He has more important things to do. Like trying to help Rakti regain her followers, wwhich may also mean telling everyone about the original Goddess of Chaos, the true creator of this world. And explaining to the royal family that, in fact, their history is biased and also their prophecy was misconstrued by everyone. That will probably go less well, and indeed leads into the cliffhanger for Book 7.

When that book arrives is beyond me – the author still hasn’t finished it online, so expect another break. Till then, if you enjoyed a nice, relaxed, possibly too relaxed isekai harem series where there’s little to no conflict between the heroines (because they’re all boring… sorry, that was mean), you should find this a nice little read.

Chivalry of a Failed Knight, Vol. 1

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By Riku Misora and On. Released in Japan as “Rakudai Kishi no Cavalry” by GA Bunko. Released in North America by Sol Press. Translated by Benjamin Daughety.

I have to admit, halfway through the first volume of this series I was ready to trash it to hell and back. It reveled in its cliches, at times even lampshading them so that they could get even worse (I’m thinking of the “yes, we’re blood related, but I still want to do my brother” plotline here in particular). And yes, I will admit it, as someone who has read Asterisk War first, a lot of this felt like something done better somewhere else. (For the curious, Asterisk War predates this series by 10 months.) But then things started to improve, not to the point where I ended up loving it, but enough so that I was able to get to the end and thing “Huh. That got better.” In fact, it almost reads like they fired the original writer halfway through and replaced them. So while it’s not my bag, I will admit that after a shaky start this is a decent light novel for those who enjoy magic academies, harems, and red-headed tsundere princesses – though the tsun vanishes fast here.

Ikki Kurogane is one of THOSE protagonists. You know, he’s strong, brilliant with a sword, his mind is sharp and analytical, he’s handsome (in fact, his face is boyishly cute), and he’s a relatively nice, if reserved, young man. But he has no magic. As such, he’s been abused by his family most of his life, is “Rank F” at the magical academy he attends, a rank which they literally admit later in the book is there just to have students that can be abused, a la Assassination Classroom, and due to his family leaning on the faculty he failed and is a first year student for the second time. But there’s a new school director who will allow him to actually fight and defend himself, and also a new student, Stella Vermillion, who is his polar opposite in most ways – a beloved foreign princess with Rank A fire powers and, ça va sans dire, large breasts. That said, they do share the trait of working hard – in fact, Stella despises people who call her “talented” as if she hadn’t trained for years to get to this point. Now that they’re roommates, can they avoid falling in love? And can Ikki win a fight at last?

I’ve already mentioned most of the things I didn’t like about the first half, but mostly it just felt like it was actively courting the typical LN fan without really trying. Things pick up with the arrival of Alice, who is the roommate of Ikki’s sister. (I’ll just skip his sister if you don’t mind.) Alice is a woman who was assigned male at birth, and this fact naturally freaks Ikki out a bit, as he’s a light novel protagonist, and therefore there’s a bit of “but I’m not gay!” here. But he rapidly adjusts, as does the audience, and the novel uses Alice’s preferred pronouns throughout. I was impressed. It helps that Alice is a “voice of reason” character among eccentrics. The final battle was also good, delving into Ikki’s repressed emotions and showing that, now that he’s allowed to fight, he has to open up or he’ll be crushed. Fortunately, he has Stella. The relationship arguably starts a bit fast, but honestly given most light novel hero and heroines that’s actually refreshing.

Gonna be honest, I read too many LNs these days, so the improvement is not enough to get me to continue this series. But it certainly seems like fans of the franchise should definitely enjoy it, and the presentation is fine. Tempting as it is to end this by saying “for fans of Asterisk War”, I know that would be mean. :) For fans of brooding boys and fiery girls.

Invaders of the Rokujouma!?, Vol. 26

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By Takehaya and Poco. Released in Japan as “Rokujouma no Shinryakusha!?” by Hobby Japan. Released in North America digitally by J-Novel Club. Translated by Warnis.

It’s the end of the Forthothe arc, and so most of it ends up being a big battle. Some villains are attacked and kidnapped, as are some of the heroes. And behind it all remains Vandarion, still the weak part of the book. Screaming mad villains just aren’t my thing, and after his main henchman is killed off, he loses whatever sanity he has and just screams threats for 75 pages. He’s helped by a hellmouth of some sort, which means he has the power to keep attacking the Blue Knight even after his mecha-dragon is destroyed, and indeed even after his own body is vaporized. It’s meant to be a terrifying show of willpower, but I have to say I wanted the cast to just kill him off already. Especially as the clever parts of the plan (kidnap Green, then use her to kidnap the royals) was quite good and well handled. Heck, even the henchman’s death was handled pretty well. I get the sense that Takehaya was trying to pad out the battle.

As for what finally kills off the villain, naturally it’s the power of Koutarou and all of his girls. The power of the bond they have between each other is strong, and can repair his giant killer swords to be even more giant and killer. That said, it’s the middle of a space battle, so we unfortunately do not have time to get deeper into Koutarou’s psyche – his mental scars still seem to be in place. It’s only the fact that they might die doing this that prompts the girls to say that while they know that he loves them as family, they want him to love them as women. His reply is said under high emotion, and is not really dwelt on. The series is ongoing after this, so I’m sure we will get back to it. Koutarou needs to be taught to be romantic – and yes, sexual. But not here.

Elsewhere, Elexis and Maya also join in the final battle, helping Koutarou at the cost of their ship and (seemingly) their lives – they’re last seen drifting off into space and can’t be found at the end of the book. That said, I will be VERY surprised if we never see them again. (They also profess their love for each other, though like Koutarou it’s under duress and not particularly sensual – this is a very pure harem series.) Darkness Rainbow’s homeworld makes an agreement with Forthothe, which means that the dark magical girls have achieved what they need to do. All that’s left is to go home and explain why they were gone for two months to their school – I have a sneaking suspicion this will go well for everyone but Yurika. That said, next volume is short stories, which honestly is welcome after an arc this long. It was very good, but I’m happy to see the end of it.

Ascendance of a Bookworm: I’ll Do Anything to Become a Librarian!, Part 2: Apprentice Shrine Maiden, 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.

The fourth volume of Bookworm starts a new arc, as Myne has managed to cajole and finagle her way into being an apprentice shrine maiden – and a blue-robed one at that, the elite noble sort of shrine maiden. But things aren’t all magically wonderful, despite the fact that she can now read books. She has three attendants, all of whom dislike her to some degree, and she is not remotely used to talking and acting as a noble should. Despite having an outlet for her Devouring now, she’s still sickly and weak, particularly when she’s reading so much she forgets to eat. The temple has an orphanage that is a nightmare, and Myne has to deal with the fact that if she wants to do something about it, she can’t just half-ass it – she needs to be a benefactor. Can she overcome all this, plus the fact that every time she finds a “solution” to a problem, it creates five more?

Myne may have the knowledge from her past life, but even her past self tended to be a bit flighty, so one of the biggest roadblocks she faces is her acting the way that a normal kid would act – acting on something as soon as she sees it, without thinking of the consequences. This has always been a headache to Benno, but now it’s a headache for the High Priest as well. Honestly, things would go far smoother if she was to simply ask more “common sense” questions about nobility, but “tell me what I don’t know” is hard to answer. I was rather amused when, towards the end of the book, when trying to resolve the issues with Lutz’s family, she’s given a magic device that literally means no one else can hear her talk. Oh, if only this existed in real life.

As for the three attendants, honestly, Myne wins them over fairly rapidly. One is disturbed she’s not acting like a noble and also worries he’s been demoted; another is a bratty kid who’s just never gotten praise for good work before, and the third is the High Bishop’s planted spy, who is trying to stay on the one path available to her, even though “mistress to a noble” strikes Myne as not something to strive for. We also get the usual inventions and ideas from Myne, as we make pizza, create clothes hangers, and discover that the fruits used in a festival event actually can become the rare paper-giving trombes if mana is poured into them – something that could also have huge ramifications down the road, as now the commoners would have a way to fight the Devouring. Myne has to (once more) be sat down and lectured, as life is not as simple as “now no one will have mana poisoning!”.

Those watching the current anime know this is a slow-burn series, and this volume is much the same, despite Myne also becoming an orphanage director. At least she’s reading books… though her revelation that she doesn’t really retain anything she reads boggles my mind. It really is pure pleasure for her, isn’t it? This new arc is four books long, so I look forward to seeing how Myne makes everyone around her smack their foreheads in future volumes.

The Greatest Demon Lord Is Reborn As a Typical Nobody: The Myth-Killing Honor Student

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By Myojin Katou and Sao Mizuno. Released in Japan as “Shijou Saikyou no Daimaou, Murabito A ni Tensei Suru” by Fujimi Fantasia Bunko. Released in North America by Yen On. Translated by Jessica Lange.

Sometimes I read light novels and feel that, despite the annoying main character, the ludicrous power levels, and the ongoing “horny teenager” vibes, that it’s worth it in the end because the author has something interesting to say behind all that. Sadly, sometimes I do not. Here we have a case of the latter, a series that wants to be “merely entertaining” and succeeds in the sense that I made it to the end of the book, but I was dragging my feet towards the end. Our hero is either frustratingly dense or frustratingly blase, the entire female cast is sorted by the size of their breasts, and the main joke, which is that he’s trying to hide the fact that he’s a reincarnation of the ancient demon lord, is not really something that can be stretched out over an entire series – though apparently we’re going to try. The author says they’ve only been a writer for a year, and I feel that this could be an example of publishers moving to the webnovel well too fast.

Varvatos is a demon lord who has saved the world countless times over but is alone and friendless. He decides to die and reincarnate himself as a normal human being, Ard, several hundred years later, so that he can make friends and have a happy life. There are several problems with this. The first is that he retains his demon lord memories, and he’s just as socially inept as he was before, so making friends is hard. The second is that he’s the son of two of the three great heroes, and what he’s been thinking of as “relatively weak magic” is actually “I CANNOT BELIEVE IT!” powers. So any attempt at living a normal life is out of the question. With the help of Ireena, a shy and busty elf girl who’s his neighbor and first actual friend, and Ginny, a busty succubus with self-esteem issues and a liking for harems, he will start life at his magical academy and be… not a typical nobody.

You’ll notice I wrote ‘busty’ twice in that last paragraph, but that’s simply as Ard tells us about the size of his friends’ breasts over and over again throughout the book. This is at least excusable with Ginny, a succubus who is actually trying to seduce him, but Ireena is his “childhood friend” who he feels a “fatherly affection” for, so it just gets annoying. And yes, the fatherly affection bit is him in denial. Given that he’s already one of the most powerful people in the world at the start of his school life, there’s also a distinct lack of conflict that makes you wonder who will prevail. The sole threat comes towards the end, when Ireena is kidnapped by the villain, stripped naked, and threatened with a tentacle monster. Sigh.

There are one or two plot points that actually surprised me, mostly involving the circumstances of Ard and Ireena’s births, but on the whole this was a bit of a slog. Recommended if you like describing all your friends based on their breast size and also if you like super strong protagonists who constantly get to show it off.

One Piece, Vol. 92

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By Eiichiro Oda. Released in Japan by Shueisha, serialization ongoing in the magazine Weekly Shonen Jump. Released in North America by Viz. Translated by Stephen Paul.

When One Piece was a young, relatively new series, ages ago, it was relatively easy to jump right into, with story arcs that rarely bled into each other all that much. Once they arrived in the New World, though, all that has changed, possibly as Oda realized that a 92-volume series is much harder to have people jump right into with no information. As such, storylines have bled together a lot more than they used to. Law is back again, of course, and the rest of the supernovas seem to be following, as when Luffy is thrown into prison midway through this book, he meets up with Kidd, and the two of them seem to be competing to see who can be the most badass prisoner (it’s a tie). There’s drug-running… pardon me, artificial devil fruit running, which Luffy upended by taking down Doflamingo. And of course Big Mom is back, chasing after the Straw Hats, though the cliffhanger suggests she may have a very different role to play this time.

She’s covered up by the 92 (a very unfortunate placement), but I did notice Robin’s expression along with Usopp and Frankie’s was enough to make the cover art this time around. This is nothing new for Usopp and Frankie, but I still tend to remember Robin as being the one who has “normal facial reactions”, as per Oda himself, and so it always startles me whe I see things like this, even though this isn’t the first time she’s overreacted comedically. I guess it’s meant to be a sign that she’s fully integrated into the crew now – or, perhaps more accurately, a sign that Oda no longer sees her as “untouchable”. It helps that she’s not around the rest of the crew – though everyone’s in Wano, several of the cast are still investigating on their own, which allows Robin to try to be a spy (unsuccessfully), Nami to try to be a ninja (semi-successfully), and Frankie to play a wonderful game of “who’s got the plans?” that goes nowhere.

And then there’s Sanji, who I have discussed many times before. There is a bit of his “I only care about women” behavior here as he runs his soba stand and leers at Robin as a geisha, but once the mob moves in and he has to actually defend people he turns into the cool Sanji that women might actually be attracted to if he could stop being an eternal perv around them. Speaking of which, I found it amusing that one of my least favorite parts of Thriller Bark – Sanji yelling about losing his dream of turning invisible so he could spy on naked women all the time – is seen in a flashback here, as he puts on a superhero suit (no, really, it’s literally that) to fight, because once again he’s the one whose identity is still unknown. And this also ties in with his family as well, showing that self-contained arcs really are in the past now.

The cliffhanger involving Big Mom is quite interesting, and I will not be at all surprised if she and our heroes now team up in some way (because why else give her amnesia?). Till then, enjoy a volume of One Piece that is a bit less chaotic than most of the recent ones, but still excellent.

Short Takes: No Guns Life and Ryuko

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This month’s Short Takes column checks in with two previously-reviewed series: No Guns Life, a sci-fi thriller whose principled hero sounds like Sam Spade and looks like a Remington; and Ryuko, a thriller starring a yakuza assassin who’s hell-bent on avenging her mother’s kidnapping.

No Guns Life, Vol. 2
Story and Art by Tasuku Karasuma
Translation by Joe Yamazaki; Adaptation by Stan!
VIZ Media, 224 pp.
Rated T+ (Older Teens)

After a decent, if predictable, first volume, Tasuku Karasuma finds his groove in volume two of No Guns Life, maintaining a brisk pace while allowing his characters’ personalities to emerge more fully. Though the action occasionally pauses for the characters to expound on important plot developments, these dialogues are less of a drag on the story than they were in volume one; here, they add badly needed layers of  complexity to a familiar noir plot line. Better still, Karasuma introduces several new characters who push the narrative in a more interesting direction, hinting at the power and secrecy of the Berühen Corporation, as well as the general public’s mixed feelings about living alongside cyborgs. If Karasuma engages in a little too much fanservice, or relies too heavily on speedlines and sound effects to enliven his fight scenes, No Guns Life is still entertaining enough to make all but the most discriminating reader root for Juzo to succeed. Recommended.

VIZ Media provided a review copy. Click here to read my review of volume one.

Ryuko, Vol. 2
Story and Art by Eldo Yoshimizu
Translation by Motoko Tamamuro and Jonathan Clements
Titan Comics, 226 pp.
No rating (Best suited for older teen and adult readers)

Paging the exposition police! The second volume of Ryuko has all the swagger of the first, but leans more heavily into Talking Points Conversation to help expedite its resolution. In some respects, these exchanges are a welcome development, as they clearly—one might say baldly—delineate the various factions’ interest in the Golden Seal, an object whose significance was glossed over in volume one. These passages also help the reader untangle the complex web of relationships among the characters, making it easier to grasp why Ryuko forges an alliance with an avowed enemy and why US military forces are trying to manipulate the outcome of her feud with the Sheqing-Ban. These conversations would feel less forced if the pacing were more even, but the two-volume format is too compressed for such an ambitious, labyrinthine plot to unfold at a reader-friendly pace.

Volume two’s chief attraction is the same as volume one’s: the artwork. Eldo Yoshimizu has a flair for staging car chases, fist fights, gun battles, and dramatic escapes, immersing the reader in the action with his creative use of perspective and fastidious attention to detail; Ryuko’s leopard-print catsuit is practically a character in its own right. In less capable hands, this maximalist approach might be overwhelming, but Yoshimizu’s layouts have a strong narrative pull that leads the eye across the page at the speed of the action, creating an almost cinematic experience. The final confrontation between Ryuko and evil American operatives is a show-stopper involving a motorcycle stunt so outrageous that even Jackie Chan would be impressed with its audacity. None of the story makes much sense, but Yoshimizu’s energetic, bold, and—yes—sexy artwork is cool enough to carry the day. Recommended.

Click here to read my review of volume one.