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Reviews

Chio’s School Road, Vol. 1

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By Tadataka Kawasaki. Released in Japan as “Chio-chan no Tsuugakuro” by Media Factory, serialization ongoing in the magazine Comic Flapper. Released in North America by Yen Press. Translated by Alexander Keller-Nelson.

Sometimes you can think yourself to death. We’ve all had that happen to us. You worry about how you’re going to achi9eve something, or how you’re going to talk to that person, or even how you’re going to get to school on time in the morning, your brain goes into overdrive, and you come up with some silly options that no one would actually do unless they were in some sort of comedy manga. Fortunately, Chio is in a manga, and so is able to do the silly things for our entertainment. A typical glasses-wearing, semi-introverted gaming girl, her late night habits lead her to be late almost every day, and things are not helped by random construction, or running into the popular girl and having to interact with her, or even just trying to find a bathroom. That’s the plot, really – we don’t really see Chio much at school, though she does have an equally socially inept friend. It’s just “what happens to Chio next?”.

I get the sense that the author came up with the idea for the first chapter and the publisher wondered what it would be like as a series, because “what if someone really did try to go roof hopping” really is a great one-shot premise, and it even gets highlighted in the cover art. It’s not as easy as it sounds, to no one’s surprise, especially when you’re trying to ensure no one notices you. The rest of the book is not quite as high concept – the chapters with Chio having to deal with interacting with other students, or talking with her equally unpopular friend about boys, are not quite as good as the rest of the book, and the reader gets the sense that this probably works better as a monthly serial in a magazine than it does collected into book form. (I’m also not sure the kissing in the back alley scene works well, as I suspect it will lead yuri readers to expect more tease that likely is not going to happen.)

The best chapters highlight the desperation of Chio’s needs and her motormouth inner monologue, where things just escalate to ridiculous levels. Getting past the gang member with his motorcycle in the path leads, inevitably, to Chio having to pretend to be a feared, deadly schoolgirl assassin, with appropriate glaring, and it’s quite well done, especially the anticlimactic payoff. Likewise, something as simple as Chio trying to find a bathroom spirals out of control and also highlights one of Chio’s other flaws, which is her selective obliviousness when it comes to digging herself into holes. I think whether you enjoy this book depends on how much you can tolerate Chio – she can be somewhat exhausting, and you get the feeling she’s her own worst enemy most of the time. Still, that’s the fun. As long as you don’t sympathize with her too much, Chio’s School Road should be a very entertaining series.

Anonymous Noise, Vols 8 and 9

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Anonymous Noise Volumes 8 and 9 by Ryoko Fukuyama

Oh, Anonymous Noise! It is a series I often find frustrating, because I love the stylish covers, dynamic paneling, and idea of high school kids working hard to find their way in the music industry, yet I do not enjoy the dynamic of the central love triangle where Nino with the extraordinary yet erratic singing voice gets tossed between two tortured musicians like a long-haired, face-masked hot potato. I do fully expect that my occasional feelings of ennui with this manga is due to my having read maybe too much (is it possible!?) shoujo manga, and if I was much younger I would be following this series with unquestioning devotion.

That being said, these two volumes focused a little bit more on musicianship than romance, so I found myself able to relax much more and enjoy the story. Volume 8 opens with Nino and Yuzu being assigned to wrangle the music for the debut of some fashion models turned singers. As always in shoujo manga, fashion models are the worst. Their new clients are petulant and very picky about their debut song. This only makes Nino and Yuzu want to try harder to write an awesome song! There are plenty of angsty plot developments with the extended cast as well, as Momo deals with a life crisis and Miou continues to try to get over Yuzu. Nino stretches her abilities as a lyricist by trying to fit the song to the voice of the singer, and everyone is ready for their next adventure, a tour!

Anonymous Noise 9

I have to admit, I wish some of the side jokes in Anonymous Noise were expanded a little bit. The mini-tour is an excuse to showcase Nino’s enduring obsessions with local foods. Silent Black Kitty gets back together again as Momo devotes himself to his music, and I’m sure the result will be yet another battle of the bands in an emotional confrontation. Nino struggles with consistency for her live performance. One thing I do like about the way music is portrayed in this manga is that it is rarely effortless. There’s a lot that comes together for someone to become a successful performer, and even though Nino’s talent is recognized, she still clearly has a long way to go before she’s a true professional. One of the ways em>Anonymous Noise is so successful at this episodic format is that each volume tends to end with a dramatic revelation or new crisis point, which happens in volume 9 when Yuzu is having issues with performance. Nino’s determined to come up with a solution to protect his dream, and everyone’s devotion to music helps offset the tortured romance. The story is propelled forward and this makes it a compelling read, even if some of the character dynamics in the manga aren’t as interesting.

Defeating the Demon Lord’s a Cinch (If You’ve Got a Ringer), Vol. 1

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By Tsukikage and bob. Released in Japan as “Darenidemo Dekiru Kage kara Tasukeru Maou Toubatsu” by Famitsu Bunko. Released in North America by Yen On. Translated by Alex Kerwin.

I write a column for Manga Bookshelf called Manga the Week of, where I point out the manga and light novels coming out next week, and briefly try to hype the debuts. Sometimes, though, this can lead to me being embarrassingly wrong about a title, because the cover art and blurb were vague, or even actively misleading. It’s especially true when there really isn’t much known about the new series. So, let me say up front: I was expecting Demon Lord Ringer (as I will call it for brevity’s sake) To be far more comedic in tone, something like Konosuba only with more of a straight man as the lead. Now, to be fair, Ares is definitely a straight man. But the book is not going for funny, instead being a crash course in how much we can take of its intensely serious, brimming with suppressed rage narrator until we beg for the demon lord to win after all. Make no mistake about it: the Ringer is a bit of a jerk.

As you can see by the cover image, as well as the blurb, this is not merely a case of me being too thick (which has also happened before): the premise is actively trying to mislead you. It is accurate, as far as it goes. A hero has been summoned to defeat the demon lord, but the hero’s level is far too low, and as for companions, we have a third princess as a mage who can only use fire magic (the entire book takes place in a forest, so she can’t do anything), a swordswoman who has recently changed her sword style away from her family specialty (so is learning a whole different skill set on the fly), and Ares, who is a priest who clearly is far more powerful than the Level 3 he suggests he is. (Yes, the usual fantasy RPG tropes apply here, as the characters discuss buffs and leveling as if they are real life fantasy terms.) The hero’s party, however, wants to get rid of Ares. And you can’t blame then, really.

There’s a reveal at the end of the book I was very impressed by, one that makes the entire party’s behavior around Ares make a lot more sense. It’s such a good reveal I won’t get into it. It actually made me want to read the second book, which I was on the edge about, to be honest. The book’s prose is good, and Ares is certainly a memorable character. But god, you want to throttle him. He’s given an assistant, Amelia, who seems to have some lingering affection for him (he doesn’t recall their ever meeting in person, which irritates her), and she keeps desperately trying to get him to slow down and not do absolutely everything on his own. And she fails. I was honestly wondering if the big reveal was going to be that he’s the villain after all, but it would seem that’s not the case. But so far, my interest in what happens next has won out over “my god, do I really need to listen to this guy’s simmering fury for another three+ volumes?”.

Yona of the Dawn, Vol 13

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Yona of the Dawn Volume 13 by Mizuho Kusanagi

One of the many things that sets Yona of the Dawn apart from other fantasy shoujo series is Kusanagi’s great ability to portray characters with nuance, even those who are villains. This volume is a bit of a departure, as it focuses on Su-Won, who has taken control of the kingdom. Su-jin, the chief of the Fire Tribe has decided that he’s going to be the one to lead a rebellion and assume the mantle of the Crimson Dragon King. Su-jin is absolutely heedless of the suffering he’s going to cause with his actions, and he’s so committed to his vision of himself that he doesn’t realize that Su-Won is a Machivellian master of both statecraft and battle tactics until it is far to late.

As usual, Yona functions as the soul of her country. While she doesn’t engage in the battle directly, she leads her warriors in when the opportunity comes to prevent the suffering of ordinary civilians. While she confronts Su-jin with words he’s incapable of considering, her encounter with Su-Won is limited to a few searing panels as they gaze at each other across the battlefield. This is one of those scenes that can only best be done by sequential illustration, as Kusanagi cuts between their faces, showing Su-Jin’s shock and Yona’s absolute sense of resolution. Whatever someone things of Su-Won as a person, it is hard not to admire him as a leader after this volume, as he adroitly deals with the leadership vaccum for the Fire Tribe, appreciates the way Tae-Jun has changed for the better after Yona’s influence, and even takes measures to protect the rare grain that Yona secured that might actually help solve the humanitarian crisis that many people in the kingdom are suffering.

Some of my favorite moments in this series are when Yona and her warriors are able to relax a little bit, and there are a few pages that push forward her connection with Hak. This volume concludes with a triumphant scene as Hak pushes Yona to take part in an archery contest, and it is a nice way to wrap up this storyline, away from the battlefield. I’m always looking forward to the next volume with this series, which is strongly in the running for my favorite fantasy shoujo series of all time.

A Certain Magical Index, Vol. 16

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By Kazumi Kamachi and Kiyotaka Haimura. Released in Japan as “To Aru Majutsu no Index” by ASCII Mediaworks. Released in North America by Yen On. Translated by Andrew Prowse.

Given the events of the last volume, and the fact that the cover art looks for all the world like a fun romantic comedy, I imagine the average reader went into this book thinking it would be a nice, relaxing volume. And it is… for about the first quarter of the book. Then Acqua of the Back arrives, and everything pretty much goes to hell. But hey, at least this book has Touma and Index in it, right? Well, not so much. Index is once again relegated to comic relief (she even lampshades how useful she WOULD have been after everything has already happened), and Touma is removed from most of the fighting by, yet again, half-fatal injuries. No, this book is about the Amakusa Church, their guilt-driven Saint Kaori Kanzaki, and their #1 Touma fan Itsuwa, who can cook, clean, is pretty with a nice chest, wields a spear magnificently, and loves Touma. In fact, in a series filled with heroines with major faults, her main fault may be not having one.

Introduced in this book: Fiamma of the Right, the “Knight Leader”, and the Third English Princess, whose name I will hold off on till I see how Yen romanizes it. This takes place about three days after Touma and Index get back from France. Touma is starting to worry about his attendance credits, and well he should – he’s barely been in class this semester. We have basically passed all the Index spinoff titles in terms of chronology. There are, of course, several ongoing plot threads from previous books. Itsuwa is dispatched to be Touma’s bodyguard after the events of tBook 14 (and so that the Amakusa Church can try to get them together as a couple, something doomed to failure). Acqua’s threat to Touma a couple books ago is carried out here, and he very nearly succeeds. And Mikoto has found out about Touma’s amnesia, and it’s bothering her, mostly as she’s not sure when it happened.

This book, as with a lot of shonen titles, is about seeing people who are so much better, faster, and stronger than you, and then getting up and fighting anyway because it’s right. Acqua doesn’t care what Touma’s motivations or desires are – his hand is a weapon, and therefore he treats Touma the same way. (Honestly, given the last two members of God’s Right Seat, he’s the least villainous, but that’s only by degree.) Itsuwa and the rest of the Amakusa fight because they know Touma is a good person, right hand or no. And Kaori leaps in to fight because Acqua is about to kill the rest of the Amakusa, and she may be keeping her distance from them but she still wants to protect them. In fact, arguably it’s Kaori who learns the biggest lesson here – no, not Tsuchimikado’s stupid ero maid thing, which made my teeth grind. But you can’t protect the ones you love from the shadows and by pushing them away. It only hurts them more. Seeing Kaori and the Amakusa team up was absolutely the highlight of this book, and I like that for once Touma did not get in the final blow (or even break any illusions), though he certainly made it possible.

It appears we’re going to be focusing on England next time (and watch out for Fiamma describing how to bring the island nation down to its knees in a way that sounds suspiciously similar to a no-deal Brexit). Also, I worry my discussion of the lack of a role for Index and her desire to help more may change for the worse soon – it sounds like Fiamma’s big plan is basically to capture her. In any case, though Kamachi remains as bad as ever at wacky harem antics, this is still an excellent volume of Index.

That Blue Sky Feeling, Vol. 1

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By Okura and Coma Hashii. Released in Japan as “Sorairo Flutter” by Square Enix, serialization ongoing in the magazine Gangan Joker. Released in North America by Viz Media. Translated by Jocelyne Allen.

When I first saw the cover for this manga on preordering it, my thought was “Boy, that guy sure is excited”. And that’s a pretty good description of the first volume. Noshiro, the guy punching the air on the cover, is just a big bundle of energetic, outgoing “HI THERE”, and you can’t help but be carried along in his wake. Even when he’s being introspective, angry, or doubting himself, it’s filled with big, energetic emotions and movements. This is, of course, to contrast him with the series’ other lead, Sanada, who is introverted, quiet, doesn’t smile much – at least at first – and is the very definition of standoffish. Most of the book is devoted to Noshiro’s arrival in Sanada’s life, and his reaction and actions on hearing the rumor going around the school, which is that Sanada is actually gay. A rumor that Sanada later confirms to Noshiro.

Most of the rest of the volume focuses on Noshiro’s developing reaction to this news, although honestly the book is as much about Sanada as an introvert as it is about Sanada as a young gay man. Sanada’s childhood friend Yamamoto has always come to eat with him (and might have a crush on him), but seems delighted that he’s finally making another friend, and tries to support Noshiro’s attempts to batter his way into Sanada’s life. But Sanada’s introversion and his sexuality aren’t easily separated either, and even being introverted isn’t always black and white. We see Sanada meet some old friends from junior high, and he’s smiling and laughing with them in a way he doesn’t seem to with Noshiro. This leads both Noshiro and Yamamoto to wonder if Sanada is “faking it” in front of them – something which Sanada rebuts, saying that both aspects of him are “real”.

We also meet Hidemitsu in this story, an older man who Sanada describes as “sort of an ex-boyfriend”. The fact that Sanada is still a high school boy is briefly brought up and then shunted aside, but I will hold off on objections till I see how close they actually were. For the moment Hidemitsu functions as an advisor and mentor to both Sanada and Noshiro, having a mature wisdom that both of them lack at this point. It also is fairly obvious that Hidemitsu and Noshiro look a whole lot alike, and that a lot of Sanada’s standoffishness may simply be attraction. Noshiro’s sexuality hasn’t come up much – he finds it difficult to name a specific girl he’s attracted to in a “guy conversation”, and has no romantic experience – but I suspect we may delve further into that in future volumes.

Honestly, the best thing about this ongoing coming-of-age story is simply how well-written it is. The characters are likeable, they have good depth, and you care about them. It feels very real. I absolutely recommend it.

Baccano!: 1934 Alice in Jails: Prison

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By Ryohgo Narita and Katsumi Enami. Released in Japan by ASCII Mediaworks. Released in North America by Yen On. Translated by Taylor Engel.

Having just finished a two-volume arc, we immediately jump into a THREE-volume arc, which consists of the two Alice in Jails book and a third called Peter Pan in Chains. As the names might indicate, Alice in Chains is the title quote, so to speak, but the book itself also revolves around jail, specifically Alcatrax, which in 1934 was still fairly new as a prison for hardcore felons (as opposed to a military prison). The description of the prison itself is quite good, showing it as an unpleasant place that can break a man, as well as being well-nigh impossible to escape from. After being blackmailed with Ennis’ safety, Firo is sent to infiltrate the prison to try to talk to its most infamous resident: Huey Laforet, who is kept in solitary confinement in the lowest of basements. But he’s not alone. Isaac has been sent there for some odd reason, and one of the prisoners already there is well known to us: Ladd Russo. Has he gotten any less violent and manic? No.

This book was, I believe, being written at the same time as the anime was being planned, and discusses certain events that the reader is unaware of but the characters aren’t, such as Graham Specter, who is introduced in this book but unseen, or the mention of a Mr. St. Germain at the Daily Days, who is also as yet unseen. The book also flits back and forth between Firo’s adventures in prison and the rest of the cast back in New York, who are dealing with Huey Laforet, despite being in prison, apparently planning a large scale terrorist attack. Narita enjoys setting up mystifying things only to have them pay off one or two books down the road, so we need to settle in here. There’s also some events from previous books intruding – the coverup of the Flying Pussyfoot murders is mentioned a few times, and we meet Gustavo, the pathetic villain from Drugs and the Dominoes, who is essentially here to be Ladd’s ticket to Alcatraz, and boy does he deserve it.

I want to talk about Isaac and Miria, though, as this is in some ways my favorite book with them, despite their not being major players in it. They’ve been wonderfully funny comic relief most of the time, but in the last arc we got some hints of deeper things – Miria’s monologue in the color pages. Now here we see that neither of them are as “stupid” as they may outwardly seem. Isaac’s ability to identify he’s talking to a cop and get Miria out of danger is masterful, and the rest of the Martillos rightly boggle at it. We also get into his head a little bit at the end, as it’s made clear he grew up in San Francisco right near Alcatraz… though he doesn’t want to see his family. As for Miria (whose head we don’t really get into), not only does she go to Ronny first to help her try to save Isaac, but she actually seems to know he’s a demon. But the best scene for Miria, in my opinion, is the one with Chane, where the two of them comfort each other over their most important person being in Alcatraz, and Miria shows off her empathy – I liked how she immediately knew how Chane communicated and wasn’t uncomfortable with it. Terrific character work here.

This is one of the better Baccano! books, including a great twist at the end I’ve tried not to spoil, and fans will absolutely want to get it. Next time we should actually meet Gustav St. Germain, as well as the much mentioned but unseen Graham, who I suspect may have been written with Norio Wakamoto and Tomokazu Sugita in mind.

An Archdemon’s Dilemma: How to Love Your Elf Bride, Vol. 1

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By Fuminori Teshima and COMTA. Released in Japan by Hobby Japan. Released in North America digitally by J-Novel Club. Translated by Hikoki.

This is a series that, when I first heard about the license, I was told was really sweet and adorable. And there’s no doubt: it is. The relationship between Zagan and Nephy is very reminiscent of young teenage love, and despite the obvious power imbalance going on throughout the story, by the end of this first book the two seem to have worked things out, although I suspect those looking for sex may be in for a long wait. That said, I tell a lie, because the FIRST thing I heard about this license was its original title with one extra word, and I was… not impressed. In fact, I may have actually avoided it. As such, I definitely approve of J-Novel Club removing ‘Slave’ from the title. But I can see why it was originally there: Nephy isn’t a bride in this at all, but she is definitely a slave, purchased by Zagan, with a collar that will blow up and all the works. What makes this different from, say, Lazy Dungeon Master is how the narrative and the characters handle this sort of thing.

Zagan is a teenage demon lord, who has his own castle (which he essentially inherited from its previous owner due to backstory that is carefully revealed throughout the book) and his excellent magical powers. He spends his day doing things like saving young knights from evil sorcerers while justifying in his head that he’s not doing it because he’s a nice guy or anything. He then hears that one of the archdemons (even higher than his position) has died and their legacy is being auctioned off. He arrives in time to see the last part of this, which is the elf Nephelia, who has giant stockpiles of mana and is also young and gorgeous. The young and gorgeous part attracts Zagan more than the mana part, and he falls in love instantly, spending his entire fortune to buy her. There’s just one problem: he’s an incredibly awkward speaker who can’t say what’s on his mind and doesn’t know how to deal with a girl. Which is fine, because as it turns out Nephy is very similar.

This is not a book I would recommend to someone looking only for sweet, cute romance. It still has all the trappings of the fantasy light novel, with slavery being a major plot point. There are no rapes, but there are several rape threats and mentions, and lots of demonic skulduggery. Indeed, Zagan gets in trouble throughout the book as the rule of thumb is that archdemons = evil, and given he won’t admit that he’s being a nice guy, he never gets the benefit of the doubt. But it’s what the book does with this that is interesting, as it shows the local village is far more accepting than you’d expect, and Zagan’s inner monologue aside, he uses power to defend himself and (later) those he loves, and has to emphasize time and time again that he did not buy Nephy to use her powers, but because he was smitten. Not that he can admit that either.

In the end, the reason I enjoyed this so much despite its settings and overall premise is that the characters were sympathetic and enjoyable, and the actual narrative pushes against the premise. If you don’t mind fantasy LN settings, and like sweet romance that’s probably a slow burner, you should absolutely pick this up.

The Magic in This Other World Is Too Far Behind!, Vol. 5

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By Gamei Hitsuji and himesuz. Released in Japan by Overlap. Released in North America digitally by J-Novel Club. Translated by Hikoki.

It stands to reason that, given this fantasy world is looking for strong heroes, and they’ve gathered three of them from Suimei’s “home” universe (albeit two of them by accident), that there would be other heroes here who hail from Japan. That said, having the hero be Suimei’s childhood friend is asking a bit much of the reader’s suspension of disbelief, methinks. She also has amnesia, which ends up helping the book to pad out its length, because a great deal of time is spent with Suimei trying to get her to trust him and also fending off attacks from her allies, who think that he’s some sort of villain. She is… an OK character, I suppose, but I have to be honest, an overly earnest swordswoman is not really something we need to add to Suimei’s party given that we already have Lefille. Given Hatsumi has her own party, much like Reiji, I’m hoping that when this arc ends she will head off on her own.

We also get a bit more information on our villains, if not their purpose just yet, and honestly I’m wondering if they’re more antagonists than villains. There is a sense that the religion in this world may be what’s actually holding it back, and while Suimei doesn’t dwell on it too much, given that he has some highly religious people in his party, I suspect it’s not something that will go away. This is also not too surprising for a Japanese fantasy light novel, where the Church has a tendency to be evil by default, but given this author’s habit of going deeply into magical theory, I’ll be interested to see if he also goes deeply into this in a way that’s not just “God bad. Grr!”. We also get a whole cadre of demons introduced, and they seem far more villainous – the one behind the battle at the end is a typical smug jerk who needs to get what’s coming to him. (Speaking of which, once again Suimei saves the girl multiple times but the author allows Hatsumi to get in the final blow. I’ll take what I can get, I suppose.)

I mentioned last time that Liliana’s depth suffered as she was essentially the victim in her introductory books. She does much better here, adding to Suimei’s party of white mage and swordswoman by being a top class spy. The scene where everyone comes up with no information whatsoever and she mentions she found “a little bit” and then rattles off every secret in the town is almost hilarious, and as Suimei notes speaks very well of her. Admittedly, you still get the sense that the girls are all doing this to get him to like them more, but given the nature of the genre I can’t really avoid that. This book ends with a cliffhanger, so it looks like another two-parter is in the works. I do wonder if Hatsumi will get her memory back in the next book or not – there’s good plot reasons why it may be best for her to stay amnesiac. Also, will Reiji and company (who have an unwanted addition now in the form of Evil Olivier Armstrong) find the ultimate weapon they’re seeking? Too Far Behind continues to stay just on the good side of “overpowered guy with harem” titles.

Wake Up, Sleeping Beauty, Vol. 5

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By Megumi Morino. Released in Japan as “Ohayou, Ibarahime” by Kodansha, serialized in the magazine Dessert. Released in North America by Kodansha Comics. Translated by Alethea and Athena Nibley.

I reviewed the first volume of this shoujo series, and then the next three were reviewed as Bookshelf Briefs. This is common for the majority of the series I follow – there just aren’t enough hours in the day, and usually I don’t have 500+ words to say about a title even if I am enjoying it. But sometimes a volume comes along that I just can’t stop thinking about, and this penultimate volume of Wake Up, Sleeping Beauty is certainly that. I actually put it off for quite some time because I had a sneaking suspicion that it was going to be too depressing and also driven by Shizu’s antagonistic father. I was wrong on both counts – Tetsu fleeing with Shizu actually turns out to work out for a while, and Daddy Dearest doesn’t get to do much until near the end, because first we have to repair Shizu’s relationship with her mother.

Speaking of mothers, Tatsu’s mom manages to be the star of the show this volume, which is all the more impressive given that she spends the entire book in a coma. This is actually a major plot point, as it’s been eight years, and the family has been sacrificing everything they have to keep her going. Is it time to give up and pull the plug? The family has a difficult decision to make. The reader is not helped in making this easier when we find out who one of the spirits possessing Shizu really is. I’m not entirely sure if the final volume will have Aki waking up or dying, but I did appreciate the backstory given to both her and Sanae, Shizu’s mother – honestly it feels very much like a shoujo manga of its own, and one I’d want to read. It also helps Sanae repair her relationship with Shizu, and come to accept her despite the spirits.

That still leaves her father, who is seemingly a tougher nut to crack. In reality, I suspect this is when the author was told “you need to wrap this up by the next volume”, as this is perhaps a very rushed resolution. That said, it is quite dramatic, and we get to see the past of Shizu’s father as well, showing why he’s such a seemingly emotionless hardass. When you are starving for love, it can be wonderful to find the right person in your life. But if you then have children, you have to accept that this love is not going to be entirely the same anymore, and that can be difficult for many people. Fortunately, despite a dramatic fall, this is not resolved via convenient plot death, and hopefully the family can work things out. This is especially true given that clearly the spirits in Shizu are all, one by one, getting ready to move on. The cliffhanger suggests this will be the thrust of the final volume.

I wasn’t expecting much of this series, but it’s rapidly become one of my favorite shoujo manga this year. Fans of the genre should absolutely be buying it.

I Saved Too Many Girls and Caused the Apocalypse, Vol. 9

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By Namekojirushi and Nao Watanuki. Released in Japan as “Ore ga Heroine o Tasukesugite Sekai ga Little Mokushiroku!?” by Hobby Japan. Released in North America digitally by J-Novel Club. Translated by Mana Z.

Eventually this series is simply going to have to run out of stereotypical heroines to stack on to Rekka’s pile. We’re down to two – well, one, really, but I have my suspicions about the other – in this book, and the cracks are starting to show – I’m OK with beloved childhood friend, but beloved childhood PET? Yes, turns out the cat was a cat yokai of some sort, and now She Is All Grown Up and everything. Of course, she still acts like a cat. Her story is probably the weakest in the book, actually, as this is essentially a book of four short stories with a wraparound, and so it gets resolved quickly and easily. Possibly realizing that, the author gives us a little more depth to both heroines from the 6th book, who R wasn’t quite sure were heroines or not last time. They may not have crises to resolve, but they do both seem to like Rekka. And then there’s R.

I have been crying out for more character depth and insight into R and her future, and it looks like I’m finally starting to get it. The other “girl” in this volume is an assassin from the future, and the moment we hear she’s named L we know she’s connected to R in some way. As it turns out, she’s the prototype for what R is, and it was originally her mission to save the world… but things took too long, and R had better specs, so she was used instead, and L was sent to live her own life and, well, get corrupted by the forces of evil. As frequently happens in this sort of story. I’m not entirely certain if we’re going to add L to the harem list, but the door is open for her return. That said, I found R more fascinating here. For the most part she remains her dry, emotionless snarky self, but dealing with L finally forces some actual anger and rage out of her, mostly because she can’t be like Rekka.

Much as this series tries to have Rekka be a parody of the clueless harem guy, and he absolutely is, when it comes to saving the girl he’s really, really good at it. R has watched him save the day time and again against all odds, and it’s very frustrating to R that she is ultimately unable to talk any sense into L or save her. Unfortunately, the drawback of my enjoying her plotline is that the rest of the book feels off-balance, as if the other three stories aren’t up to the task of the final one. There’s nothing wrong with them – everyone goes to the pool and tries to flirt with Rekka, to no avail; they hold a “summer camp” at the school in an effort to give Midori a bit more depth, which… works a bit, but she still suffers from not really having had much impact in her debut. So in the end this volume of Little Apocalypse is just OK, but the best part is at the end, so it will leave you happy when you finish it.

Shortcake Cake, Vol. 1

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Shortcake Cake, Volume 1 by suu Morishita

I’m always up for more shoujo series, and Shortcake Cake starts off with a very promising first volume. The story begins with Ten Serizawa dealing with her daily 2 hour commute to school. She gets up early and naps on the bus. But as she hangs out with her school friends, she begins to realize that her commitment to the commute means that she can’t take part in after school gatherings with her new classmates, as she has to keep checking the time to be sure she’s able to catch the last bus back to her more rural home. Ten’s friend Ageha points out how much easier it would be if Ten moved in to her boardinghouse. Ageha sneaks Ten in one day after school (the residents aren’t supposed to have outside guests), and Ten experiences the hazards of boardinghouse crashing, like avoiding the house mom, tiptoeing past the boys’ floor. In the process she has a brief encounter with the handsome bookworm Chiaki, who dazzles her with his good looks and quotes Turgenev at her.

Ten sees that the boardinghouse is much more spacious and nice than she was imagining and decides to move in. She meets another resident, the overly flirtatious Riku. As Ten gets settled in, she starts getting entwined in the lives of the residents. She sees Riku gently turning a girl down who asks him out and points out to him that if he would stop flirting with everyone, random girls wouldn’t get the wrong idea. Riku’s ingratiating manners are looked on as odd by most of the boardinghouse. Riku starts falling for Ten, and can’t act like his normal self around her anymore. The new friends go out on an outing, and Ten learns more about Chiaki’s bookish ways and his reactions to his looks-driven popularity. Finally, a third boy is introduced, Rei, who wears traditional clothing and is drawn to resemble a blond L from Death Note. He’s given to odd insulting outbursts.

So a romance being set up where many people slowly fall in love with a relatively ordinary girl is familiar shoujo manga territory, but the situation in Shortcake Cake doesn’t feel artificial or unearned, because Ten is objectively pretty adorable with her Sailor Moon style pigtails and her quirky hobby of following along with radio exercise programs. Morishita does a great job with character development in this volume, leaving just enough mystery for the reader to become invested in finding out why Chiaki is so withdrawn and wonder why Riku is overcompensating by acting superficially pleasant to most of the girls he meets. The volume ends on a cliffhanger which shows Ten forcing a confrontation about something that most shoujo heroines would leave unsaid for 5-6 volumes, which instantly got me onboard for the rest of the series!

Morishita’s art features a liberal amount of screen tone, and her characters quickly switch back and forth between regular and exaggerated facial expressions. Ten frequently shifts into cat face mode whenever she’s being mischievous or startled. The production for Shortcake Cake sets it apart from other Shojo Beat volumes, with matte covers and a cute strawberry on the spine. There are some additional black and white illustrations for chapter covers included as a bonus in the back of the book. I can see why this shoujo series was so highly anticipated, and I’m looking forward to reading more.

Accomplishments of the Duke’s Daughter, Vol. 1

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By Suki Umemiya and Reia. Released in Japan as “Koushaku Reijou no Tashinami” by Kadokawa Shoten, serialization ongoing in the magazine Young Ace Up. Released in North America by Seven Seas. Translated by Angela Liu. Adapted by Tracy Barnett.

There has been a bit of a backlash online about the constant flow of “isekai” stories into North America in the past few years. Of course, that’s because they’re incredibly popular in Japan. Indeed, they seem to be so popular in Japan that we’re starting to see authors who have an idea of a story that need not involve an isekai try to shoehorn it in anyway to get readers. This is a good example of it. Now, I may be wrong – it’s taken from a light novel that is itself taken from a webnovel, and future volumes may take more advantage of the fact that its heroine has been killed and reincarnated in another world. But honestly, if you removed the isekai aspect from this manga series, very little would change at all. Fortunately, the story is strong – which is probably why I’m complaining that an isekai wasn’t needed. I’m perfectly happy to watch Iris save the world.

As I mentioned earlier, it begins, as many series like this do, with a death by car accident. A young woman who works overtime at some company or other and spends her spare time playing otome games is killed, and suddenly finds herself in the climactic scene of the game she just cleared. Sadly… she’s the rival who’s just being taken to the cleaners. She knows what happens next – her character leaves the school and gets exiled to a nunnery for the rest of her life. Yeah, that’s not happening. Oh, she’ll leave the school, but she decides instead to confront her father with all the political machinations that have been going on in the game, pointing out that he had plans and backup plans. He’s impressed enough by this that he decides instead of exiling her to a nunnery to exile her to one of his fiefdoms, and basically tells her she’s in charge. So, with the help of a seeming army of orphans she’s picked up over the years, she sets out to make her country a better place.

I enjoyed this, but there are, let’s face it, a few moments that made me raise an eyebrow in disbelief. For a “villain” character who is seemingly an expert at verbal abuse in the game itself, Iris actually turns out to be a sweet girl who constantly wants to save everyone. Iris claims it’s “first love sickness”, and I guess we’ll go with that, but I’d have liked better use of the actual gimmick. Likewise, Iris immediately having a large force of bodyguards, maids, accountants and such that she can immediately marshal to the cause is a bit… easy? That said, honestly, if it’s going to lead to “let’s see how we’ve neglected the poor people and try to make it so they have a better life”, I’m fine with it. And the supporting cast seem fun, even though, as I noted, none of them seem to regard Iris as the villain type. Honestly, given this runs in a seinen magazine, the best audience for it may be those who enjoy the light novel How a Realist Hero Rebuilt the Kingdom. It has a similar vibe. In any case, I look forward to future volumes of this flawed but fun book, even if it did not have to be an isekai.

Arifureta: From Commonplace to World’s Strongest, Vol. 7

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

I’ve talked before about Hajime as Christ figure, and Hajime as simply another example of the overpowered hero going after the kids that bullied the author in middle school, but in this book it’s also worth taking a look at something that has remained a core part of Hajime’s character despite every possible attempt to extract it: Hajime the nerd. (Yes, yes, I know, chuuni. I never saw that anime, so feel uncomfortable using the expression.) Hajime’s inner monologue has had the occasional taste of otaku culture throughout the series, but this volume really sees it in full flower. When he’s in the bar gathering information, and has to impress the bartender, you can almost hear him squeeing. And while the core purpose of his “arranging a distraction” was to humiliate and get a bit of revenge on Shizuku for laughing at him, the fact that he dresses them all as a sentai team also shows this off. Hajime is badass, but still a nerd.

We seem to have run out of cover girls, as we’re back to Yue. (Technically it should be Liliana, but honestly ignoring her in favor of Yue is perfectly in character.) That said, in terms of content, Shea should really be the one on the cover, as she and her rabbit tribe own this book. Considering that turning the rabbits into savage killers was a passing joke in the 2nd book, it’s become quite a large thing, and the best running gag of the volume was everyone giving Hajime the stink-eye as they realize how much he brainwashed everyone into being Rambo. (They also inherited his nerd tendencies, coming up with hilariously bad “names” for themselves.) Since the Empire is doubling down on Beastmen being enslaved, the rabbits take matters into their own hands – with a little help from Hajime, admittedly, but mostly entirely on their own – to convince the Emperor to change his mind. Again, those who like over the top battles will be very happy.

The demons also get their asses handed to them by the rabbits, but they have a much stronger response, coming up with 400 or so of the Angels that Hajime had a little trouble with in Book 6. I suspect the eighth volume will deal with the fallout from that. One last thing that impressed me, though, was the final extra story. Usually in light novels these extra stories are pure fanservice, but this one not only advances the plot but makes a nice refreshing change from the “all religion is evil” trope we’ve seen in Arifureta and other light novels. A new pope is appointed to fill the void caused by the events of Book 6, and he proves to be an excellent choice, coming across both Yuka (the girl Hajime saved in Book 1) and Aiko and helping them get over their dithering and try to move forward. It comes across as a confessional, and this is exactly the sort of thing that confessions should be about. I really liked it.

A very strong Arifureta book. Except for Tio. God, I hate Tio. More accurately, I hate the way the author writes Tio.

Yona of the Dawn, Vol. 13

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By Mizuho Kusanagi. Released in Japan as “Akatsuki no Yona” by Hakusensha, serialization ongoing in the magazine Hana to Yume. Released in North America by Viz. Translated by JN Productions, Adapted by Ysabet Reinhardt MacFarlane.

As we watch Yona and her bunch wandering through the nations doing good and saving people, it would be all too easy to cut back to the usurpers back at the palace and make them simple, cookie-cutter antagonists. But one reason that Yona of the Dawn is so strong is that Su-Won is not a cookie-cutter antagonist. In fact, the reader might occasionally be thinking to themselves, “You know, Su-Won being king may actually be a very good thing?” Yona is dealing with the world at the lowest level, going from small village to small village for the most part, while Su-Won takes on major threats to his kingdom and also tries to get the leaders of the various tribes to think better and learn more. It’s micro vs. macro, and neither choice is bad. And it also means that when Su-Won and Yona see each other towards the start of this volume, the tension involved is absolute dynamite – and it can only last a few seconds before being taken away.

If you do want a more typical evil antagonist, there’s always General Su-Jin, who cannot conceive of a situation where he loses to this upstart new king. But lose he does, as right from the very start we see horses dressed up as tigers (some nice historical research from Kusanagi-san there) and it just goes downhill from there. Su-Jin is the classic example of the obsessive who cannot let something go, and I felt sad that he did not have a moment where he threw up his hands and screamed “THIS CANNOT BEEEEE!”. The best part of his attack on Su-Won was actually when Yona confronted him, as her concern is not only t stop the violence but also to tell him how far Tae-Jun has come. Sadly, it’s all for nought, but it does lead to that beautiful shot of her and Su-Won seeing each other (there is some absolutely gorgeous art in general in this volume. I may not mention it all the time, but Yona of the Dawn is extremely pretty).

There’s also a bit of reverse harem here, but honestly, every single time that one of the other guys (usually Jaeha) shows that they’re in love with Yona, it’s there to underscore how obvious Yona/Hak is as the OTP. Here we see Yona getting a bit jealous when Hak uses his natural charm to get customers at a bazaar, and also tamping it down because she knows one day he’s going to leave her and go with someone else. That will never, ever happen, but hey, this is why you don’t hook up the main couple in the first book. Hak and Yona are perfect for each other. That said, the other guys all have their charms, and I am certainly content for things to simmer a bit as they are now. This is a bit of a transitional book, as we see that Tae-Jun, much as being a nurse is something he’s awesome at, having to return to the Fire Tribe to be temporary leader while his brother studies. As for Yona and friends, I’m sure we’ll be starting a new arc next time. I can’t wait.