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Suppose a Kid from the Last Dungeon Boonies Moved to a Starter Town, Vol. 11

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By Toshio Satou and Nao Watanuki. Released in Japan as “Tatoeba Last Dungeon Mae no Mura no Shonen ga Joban no Machi de Kurasu Youna Monogatari” by GA Bunko. Released in North America by Yen On. Translated by Andrew Cunningham.

While I would not say that the cast of Last Dungeon Kid are as bad as Seinfeld, a series where the creators had as one of their series rules “no hugging, no learning”, it is certainly true that any time one of the characters almost reaches a point where they will come to their senses and mature as a person, they immediately backslide horribly for comedic effect. Usually that person has been Marie, and it’s Marie here as well. She’s reaping what she’s sown, as Lloyd is now convinced that Marie is the LAST person that could possibly be the kingdom’s princess, mostly thanks to what a giant disaster she is. A sensible person might think that they should shape themselves up so that Lloyd might be able to see them as royalty. Marie, instead, realizes that her being a disaster means Lloyd is too attached to her to fall in love with anybody, so she doubles down on being terrible. It’s… well, they’re comedy types, Harold.

As the country prepares for possible war, our core military cast are going around to various guilds to make sure that they’ll be on the right side when the fighting starts. This includes the adventurer’s guild whose mysterious leader has been absent for years but who returns the moment Lloyd shows up. It also includes the maritime guild, whose head has been fighting with the King for years and years, apparently due to the disappearance of the Queen. The King is trying to move things forward by having a big party where he’ll reveal the return of Princess Maria, and Marie has even agreed to it, in a desperate effort to get Lloyd to believe her. Sadly, when informed that the princess loves Lloyd, he becomes desperate to find the REAL princess… so he can reject her!

I wasn’t kidding when I said that stuff happens immediately after Lloyd gets involved. When he walks in, the plot moves forward. And yes, there is still a plot. Indeed, we get an extended prologue that shows us Alka’s past from before this world’s transformation, and get closer to figuring out who was behind it and what they actually want. We also see the return of the mystery woman who Lloyd met in the “bathroom” he found several books ago. As it happens, she’s deeply tied to both the Kingdom and Alka’s past… but of course she’s also a bit of a disaster, because there really are no 100% serious characters in this book. It reminds me of reading Urusei Yatsura or Ranma 1/2. You keep wanting things to be taken more seriously, for drama, for a bit of romantic resolution. But you can get that in other series that are far less funny than this. This series is here to give us laughs, and though they may be rueful laughs most of the time, they’re still there.

That said, we have to wait another three months while this series’ narrator goes off to do his other job as narrator of Tearmoon Empire. Till then, this is always a fun read, especially if you’ve just read two awful books in a row (like I had).

Yuri Tama: From Third Wheel to Trifecta, Vol. 2

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By Toshizou and Kuro Shina. Released in Japan as “Yuri no Ma ni Hasamareta Watashi ga, Ikioi de Futamata Shite Shimatta” by Overlap Bunko. Released in North America by J-Novel Club. Translated by Tristan K. Hill.

“Sean,” my readers say to me. “I’m happy that we’ve gotten a lot more yuri titles in the last few years, but what about fans of incest? Is there a book out there that looks closely at younger sisters who love their older sister and tries hard to do a deep analysis about whether it’s OK or not?”. OK, no. My readers never say that to me. That said, if that’s what you want, I have good news, the second volume of Yuri Tama is all about said feelings, and whether Yotsuba will decide to dump her new girlfriends for her sisters, or just have all of them in a giant polycule, or what. So yeah, good news for fans of that. If, on the other hand, you read the above and said “what the actual fuck?”, then you are like me and stared at this volume with dull horror. The author can certainly write. It’s just what they write that’s the problem.

Yotsuba has managed to pass all but one of her exams, despite possessing the worst self-loathing of any light novel protagonist ever. This means she has most of her summer break free, and she plans to spend it dating her two girlfriends (separately). Unfortunately, each date is seen by one of her younger sisters, and now they’re both furious. Yotsuba is sure they’re upset that she’s “two-timing” the girls she’s dating, or they’re upset that she didn’t tell them she was dating at all. They’re not. They’re upset because they’ve been in love with Yotsuba since they were little children, and the idea that two other hussies have snatched her away is appalling. Can a family trip to a hot spring allow Yotsuba to explain? Or will it just make things worse?

So, let’s tick off the things I didn’t hate. 1) The author is somewhat self-aware that they are writing ridiculous shit, and it gets lampshaded a few times. 2) There is an attempt at discussing the differences between sexual attraction, familial love, and close friendship. It’s an attempt that is somewhat steamrollered by the plot, but the attempt is made. OK, I’m done with good things. Yotsuba remains the most annoying narrator ever, not being able to go more than three paragraphs without reminding us how awful and pathetic she is. Her sisters are, not to put too fine a point on it, creepy, and Yotsuba seriously considering loving both of them sexually boggles the mind. And unfortunately, because of this plot, Rinka and Yuna are sidelined. The dates may be the best part of the book, both because they’re not incestuous and also because Yotsuba shows an odd confidence that she doesn’t seem to be aware of herself. I want to explore that, not whether incest is OK.

I wish I could say that the series ended here, but a third volume of this came out last month in Japan. If you are really really desperate for yuri… please read something else anyway. Also, please use the word “two-timing” correctly! It’s consensual! They both know! Explain that!

Honey Lemon Soda Vol 1 by Mayu Murata

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Honey Lemon Soda Volume 1 by Mayu Murata

I was aware that there was a great deal of anticipation when Honey Lemon Soda was licensed, and the first volume lived up to the hype! Popular boy inexplicably adopting an incredibly awkward girl is a familiar plot in most shoujo manga, but Honey Lemon Soda takes this premise and runs with it, making the reader feel instantly sympathetic with the introverted heroine in question. Uka Ishimori’s gets in the way of an errant blast of lemon soda wielded by Kai Miura. She freezes up and is unable to respond to his friends’ expressions of concern and she runs away when Miura apologizes to her. His friends comment “It’s kinda like she’s living out a different genre than the rest of us” which is a good way of summarizing how disconnected Uka is from people her own age.

Honey lemon soda 1

In middle school, Uka was bullied, with classmates calling her “Rocky” due to her last name and stony expression. She’s determined to make friends and change in high school, and picked a school to go to based on its more laid back and flashy reputation instead of going to a school where people are devoted to studying. Every possible social interaction has Uka caught up in her anxious thoughts, as she has to force herself to offer to help a classmate with the answer to a question. Miura starts taking an interest, coaching Uka through some basic greetings. When she actually calls on him for help, he leaps in and defends her from some of her former middle school bullies. Uka starts expressing herself more often, although sometimes she’s so tense about communicating with others that her thoughts come out more like yelling accidentally.

Miura might look super cool with his effervescent blond hair, but he also seems to have more compassion than is typical in a shoujo hero, and he keeps dropping comments designed to help Uka become more comfortable with herself. Murata’s character designs are attractive, and there are plenty of dynamic panel layouts as the characters make their way through emotionally fraught situations. After reading the first volume, I am eager to see how Uka changes on her journey to break out of her shell and express herself more.

Sabikui Bisco, Vol. 4

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By Shinji Cobkubo and K Akagishi. Released in Japan by Dengeki Bunko. Released in North America by Yen On. Translated by Jake Humphrey.

This review really cannot happen without spoiling the end of the book, so beware if you do not want to be spoiled, though I will try not to exactly spoil. Throughout most of this volume, this has the feel of a “makework” volume in the series, as events happen but it lacks the striking imagery of previous books, which was one of the major reasons we read it. It also is not as gay, which is the other reason we read it, mostly as Bisco and Milo spend most of the book separated from each other, and there’s only one or two moments, such as brief princess carry, or Milo staring in what is clearly jealousy at one point, that makes you realize the writer knows what they’re doing. But it’s all right. It’s got some really cool fight scenes, Bisco is funny at times, we have a new waif who needs to be guided/rescued, and we get a little more development of the post-apocalyptic works with a slave race. OK, that last part is questionable.

We open with a teenager escaping from what appears to be a maximum security prison, only to be caught almost immediately, and their rescue/medical treatment by Bisco and Milo, and we then backtrack to see why they’re in a prison in the first place. They arrive at what is supposed to be a mushroom keeper’s village only to find it nearly deserted, covered in sakura flowers. The tribe have been arrested and thrown into a maximum security prison by the warden, who is very big on justice in a “Shonen Cop Gone Bad” sort of way. Shishi is part of a tribe called the Benibishi, an artificially engineered plant-based species designed as slaves. All the Benibishi are ALSO in the prison, and Shishi’s father, their King, is due to be executed. Now Bisco and Milo have to get into the prison and try to resolve things… except that they’re promptly arrested and thrown in there anyway.

Starting off with the one really great part of the book. The third volume ended, to the surprise of most readers, with Pawoo marrying Bisco, and she’s come along in this book as well. Then, a third of the way through the book, the prison warden grabs her and simply throws her out of the book and back to her home town. We never see her again. It’s jaw-droppingly funny given the novels’ BL tendencies. Well, that’s the good out of the way. Shishi is briefly presented as trans, but it’s unclear if that’s gender-based or just has to do with the idea of “prince”, and the book uses female pronouns for Shishi throughout. The Benibishi all are jailed because there is a worry that they will go mad with revenge and try to kill those who wronged them. Their plant nature means they run the risk of getting caught up in murderous rage, and the King warns Bisco and Milo about it, so they help his daughter calm down and not choose violence.

And then comes the ending, which is like the author giving you a nice warm hug and then stabbing you in the back. Now, I will grant you there’s certainly a plot for Book 5 now, and I wonder if the only reason this happened is the author ran out of things to do in this series. But man, Shishi’s actions in the last three pages or so leave SUCH a bad taste in my mouth that I can’t really recommend this anymore. A merely okay volume of the series till the ending brings it down to bad.

High School DxD: Lionheart of the Academy Festival

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By Ichiei Ishibumi and Miyama-Zero. Released in Japan by Fujimi Fantasia Bunko. Released in North America by Yen On. Translated by Haydn Trowell.

Generally speaking, harem series rarely have to ask the question “why is the guy not understanding that all these girls who are literally naked in his bed saying “take me now, big boy!” kinda like him?”. The reason for that is that in most of these stories the answer is the same. It’s a variation on “don’t be silly, no girl will ever like me.” Harem protagonist never comes without a heaping helping of self-loathing, it would seem. Fortunately for High School DxD, it can actually give Issei a real reason for all that self-loathing beyond “because the plot requires it”. His first girlfriend, the one who he finally thought would be the girl that did not see him as a creepy pervert loser (which, sorry Issei, he is) rejected him bluntly multiple times. Oh yes, and turned out to be evil, tried to kill him, and was murdered in front of him. So when you ask “why does he not understand why Rias is so mad in this volume”, the answer can be, frankly, “trauma”.

We’ve had the sports festival and the school trip, so clearly it’s time for the culture festival. Maid cafe? Haunted house? Why not do both? As the Occult Research Club prepares to pull out all the stops, they also have a fresh new Rating Game, against an up and coming team whose leader, Sairaorg, has no demonic powers, but has to get by with his charisma and his brute strength. He is, frankly, a perfect opponent for Issei, and the fight takes up the entire second half of the book. Unfortunately, there’s trouble in paradise: After being as subtle as a truck and failing to get her feelings across to Issei, Rias spends most of the book miserable and thinking that he doesn’t actually love her. He’s not helping things by not understanding why calling her “Prez” feels like distance. Can they make up in time to win the match?

I haven’t mentioned breasts at all yet in this review, so I want to sadly reassure fans of the series that they’re still ridiculously essential to the plot, with the funniest fight in the book revolving around a woman taking off her panties before her bra, something that absolutely infuriates Issei. As for he and Rias, frankly, the two are more similar than you’d expect, and of course are the main couple of this series. And yes, finally we can say “couple”, given that we get an incredibly overdramatic and public confession (it’s High School DxD, where everything happens in front of the biggest crowd imaginable) which, more importantly, is followed by a quieter but just as firm confession when it’s just the two of them. It doesn’t take a genius to realize that this is a “marry everyone” kind of series, but it has to start with Rias, and now it has.

That said, haven’t things gone a bit too well for our heroes lately? (Well, except Akeno, who got annihilated in about ten seconds. Sorry, Akeno.) Gosh, I hope nothing absolutely tragic happens in the next book…

Bottom-Tier Character Tomozaki, Vol. 9

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

The Tomozaki novels have always felt a bit like a college thesis. It’s the sort of series that Chitose Is in the Ramune Bottle made fun of, detailing ways to improve your life and become a normie. As such, it’s not too much of a surprise that this book is very analytical of its three main characters. In fact, arguably that’s the plot of this volume. And what it shows us is scary. Hinami, Tomozaki and Kikuchi are all characters we like and root for (well, OK, maybe not Hinami), but at the same time they can be truly terrifying. In this book we see Tomozaki realizing that the path Hinami has been leading him down is the wrong one, but the self-discoveries that he comes to are also very dangerous, and he almost chooses a totally different but equally wrong path. God bless Mimimi, who may constantly be the romantic loser but I think sees the real Tomozaki better than any of the others. She knows WHY they all fell for him.

You will be relieved to hear that Tomozaki and Kikuchi do not break up after the events of the previous book, though I admit I am a lot less optimistic about their future by the END of this book. Tomozaki confronts Hinami about the advice she gave him regarding his new relationship, and finds she was trying to get them to have their first fight – which causes him to break off their sessions. He apologizes to Kikuchi and tries to work things out with her, but we discover that the aspects of dating that everyone else seems to take for granted elude him. This is shown best in a game of Atafami with his offline group, where she shows that he’s started to use a completely different character, something that almost makes Hinami have an emotion. Meanwhile, Kikuchi is writing a new online novel… one that, once again, seems eerily familiar.

Which sounds scarier, seeing the world only as a gamer or seeing the world only as a writer? Tomozaki’s reaction to Kikuchi’s new novel almost feels like it’s out of a horror story, where you find that she’s secretly behind him as he reads it. Meanwhile, Hinami simply IS a horror story. Her statement that she never does anything without a reason, and her bafflement that others find this creepy, forces Tomozaki to wonder why she’s been tutoring him on life this whole time. What is her real reason? If it’s just “I was annoyed by Tomozaki’s lameness”, that’s a sad reason. But no, it’s actually a way to validate herself that doesn’t damage herself – only him. I think we may be totally done with the life lessons, at least on her end. Just as it turns out Tomozaki was strong and cool all along, Hinami is still dealing with past trauma, and any lessons learned in the future are probably going to be hers.

There’s a new translator for this volume, as Jennifer Ward has been freed from Oregairu and moved on to a series inspired by it. Bottom-Tier Character Tomozaki may not need a glossary at the end, but its volumes are filled with emotion, trauma, and psychoanalysis. I really enjoy this series.

Baccano!: 1935-C The Grateful Bet

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

The author has said a few times that this will be the final 1930s arc, and that after that there’s just one arc in 2003 to wrap up the series. (Admittedly he said that when this volume came out… almost ten years ago… more on that next time.) And on reading this volume, you get the sense that he’s sending the series off with a bang. Baccano! is known for its big cast, but here it feels like he’s trying to have every single main character from the series show up at the same time. We get Firo’s group, Luck’s group (with several additions from Drugs and the Dominoes and Man in the Killer), All Huey’s various Lamia and Larva, Jacuzzi’s gang, the girls from Time of the Oasis, etc. As for the 1700s immortals, for the most part they’re absent from the actual event (Maiza doesn’t count at this point, he’s part of Firo’s group more than he is a 1700s alchemist) but are trying to control or destroy everything there. It’s an all-star finale.

So yeah, Ennis has (sigh) been kidnapped in order to make Firo do something dumb. Fortunately, Firo has matured a bit from the last time this happened, so he merely smolders with controlled rage. The Martillos have his back (well, most of them, Ronny is AWOL) and consider Ennis one of their own. Meanwhile, there’s also the Runorata’s big casino opening, which everyone wioll be attending so that they can watch the other shoe drop. No one is quite sure what will be happening, but they all know it will be happening there. As for Melvi, we find out who he is in this book, but frankly he’s started his downhill slide already, given that he can’t even win against Ennis in an argument about what makes someone human. And then there’s Nader, the least likely protagonist, trying to help Eve and avoid getting caught by Leeza, but also running into someone who knows of his past.

Again, so much of this is just setup. I do wish Ennis had done more (Melvi is threatening her with Czes being tortured, but as we can see, Melvi doesn’t even have Czes, something Ennis can’t really confirm) but I did really enjoy her conversation with Melvi, where she shows she’s a much better homunculus than he’ll ever be. (Speaking of the Dormentaires, we get confirmation that only three of them got immortality in 1711 – Lucrezia, Niki, and Maiza’s dad. Sorry, Lucrezia/Carla shippers.) There’s a lot of potential confrontations that haven’t happened yet (Ladd vs. Claire, Nader and Sonia meeting again) as this book is STILL almost all setup, but we do get a couple scenes we’ve been waiting for, such as Leeza and Chane working together and Huey confronting Fermet. I’d mentioned above that almost everyone from the main cast and supporting cast is here, but Elmer is mentioned but not around – one wonders if he’ll be the fuse for this explosion to come.

The arc still isn’t over, so we’ll have to wait till next time for that explosion. Till then, enjoy the discussion of what makes a human, how much the world runs on fate, and other Baccano! philosophical debates.

My Friend’s Little Sister Has It In for Me!, Vol. 9

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By mikawaghost and tomari. Released in Japan as “Tomodachi no Imouto ga Ore ni dake Uzai” by GA Bunko. Released in North America by J-Novel Club. Translated by Alexandra Owen-Burns.

I’m not sure how much longer this series has to go in Japan – Vol. 10 just came out in October there – but I suspect this series is not going to get beyond Vol. 12 at the most, as it’s really starting to wrap everything up. Basically, all the secrets that everyone has been hiding come out here, and come out very publicly. In some cases this is a good thing. We’ve watched Mashiro’s character development from the start of the series, and here we see why she writes and what she takes inspiration from. She’s jealously guarded her own incredibly popular work because she worries others will change it and that it won’t be hers anymore, but coming to terms with her feelings for Akiteru has made her back off on that – and on the fake relationship, which she breaks because she feels it’s holding her back on the chances of a real relationship. She gets some of the best bits in this book… but is still probably coming in 2nd of 2.

The class has a free day, which is good because Akiteru got no sleep the night before as Mashiro, as I mentioned above, breaks up with him. That said, she’s now taking him out on a date to the not-Disneyworld theme park… you know, the one run by Iroha’s mother. Who happens to be there, and gives them free “extra special guest” passes. Of course, they’re followed by Midori, who is still fairly broken up about her rejected confession. Meanwhile, Mizuki takes Iroha to the set where they’re filming, and there they run into Otoi, who does not like Mizuki very much and it shows. After this, they too end up at the theme park, where Mizuki has a meeting. As Mashiro and Akiteru deal with a very scary haunted mansion… erm, sorry, ghost mansion… Iroha also ends up in the same mansion. How many dates is Akiteru going to have, anyway?

The best character in this volume may be Otoi, whose bluntness helps to cut through the aura of bullshit that everyone else around her carries, even if we still don’t know her first name (it’s implied to make people think of toilets). As mentioned above, Mashiro gets a great character development book, but in terms of romance it comes up short – Akiteru thinks they’re on a “real” date, whereas she thinks that they, the creators of a popular horror game, are here for research. It’s funny, but in a bittersweet way. Less funny is Iroha’s cliffhanger. The relationship between Iroha and her mother has always had an air of “final boss” to it, and here we see that Iroha is so terrified of her that when it comes time to admit out loud what she wants to do with her life, she runs away. It’s actually rather depressing.

This does sort of wrap up the arc from last time, but it also has a cliffhanger that promises us that the next book will be a flashback showing us how Akiteru and Iroha first met. After that, we basically have only two plotlines to resolve, as I said. This is a solid series, but I admit I’m more in it for the drama now than the wacky teasing.

Raven of the Inner Palace, Vol. 1

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By Kouko Shirakawa and Ayuko. Released in Japan as “Kōkyū no Karasu” by Shueisha Orange Bunko. Released in North America by Airship. Translated by Amelia Mason.

Sometimes people just want variations on a theme. Looks at why isekai is so popular, despite the fact that everyone you talk to seemingly hates it. Heck, look at Villainess novels, where I feel like Holt from Brooklyn Nine-Nine. “I’ve read this story before.” “AND YOU’LL READ IT AGAIN!” And now we have the mini-genre of “intrigue in the inner court palace of the Emperor and his harem”, where I’ve already got The Apothecary Diaries (mystery series with a side of toxic romance), Culinary Chronicles of the Court Flower (foodie shoujo with doomed romance very much not as the side), and Though I Am An Inept Villainess (bodyswap AND villainess AND romance AND intrigue). And now we have Raven of the Inner Palace, which has mystery, and also romance, but most importantly it has ghosts. So many ghosts, they’re honestly choking the Inner Palace. Fortunately, we have a young woman who can help them move on. Somewhat less fortunately, she’s stuck there for the rest of her life, because she is Special ™.

Jusetsu is the Raven Consort, who, unlike the other Consorts in the Inner Palace, does not spend the nights “having conversations” with the Emperor. Instead, she helps others in the court to find lost items, or to remove a curse with her mystical powers. Now the Emperor, who is relatively new to power after overthrowing the Dowager Queen (who is ludicrously evil in an almost laughable way, despite the fact that we never see her) is here to see Jusetsu to see if she can identify who is the owner of a jade earring dropped on the ground. From here, and despite Jusetsu being standoffish and prickly and the Emperor seemingly being stoic, the two grow closer, and each learns the backstory of the other.

As with a lot of mystery series, I don’t want to give the game away by talking about the plot too much. I do like Jusetsu, who different enough from the other “court intrigue” heroines to be her own person. She turns out to be socially awkward as hell, partly from her tragic past, but mostly, it’s inferred, from the training she got to be the next Raven Consot, which consisted of emphasizing that she should have a minimum of human contacts. That goes out the window in the first book. Not only is the Emperor clearly starting to fall for her (she doesn’t notice) and she gains a court lady and a second servant. This is clearly a good thing for her character development, but I suspect a lot of folks are not going to like her straying out of her lane in the future. It does help that she’s very good at the supernatural part, which is the other half of this book. The ghosts are more sad than terrifying, but I’m sure we’ll have even more of them in future.

This also got an anime in the fall (which, be warned, used the Chinese names rather than the Japanese ones as this translation does). It succeeds for the same reason the other three series I mentioned do. Not because of the genre, or because of the mysteries. It’s because they’re REALLY well written. I wasn’t planning to read more. It’s now definitely one I’ll read more of.

Kuma Kuma Kuma Bear, Vol. 13

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By Kumanano and 029. Released in Japan by PASH! Books. Released in North America by Seven Seas. Translated by Jan Cash & Vincent Castaneda. Adapted by M.B. Hare.

Generally speaking, long-running light novels tend to come in two different varieties of some sort. The first is “there is a definite end goal in mind, but we can drag this on forever if it stays popular”. This applies to most romantic comedies where the end point is “he chooses girl X”, or to fantasy books which have a save the world sort of goal, where the world getting saved is the endpoint. The others are the ones where we create a world or a situation and then just write infinite variations on the situation, with no expected end beyond “and the adventure continues…” Kuma Kuma Kuma Bear is definitely the second kind of book. No one expects Yuna’s past in Japan to ever be relevant again beyond going to this fantasy world’s Japan analogue. Likewise, this isn’t the kind of book where it’s going to pair Yuna romantically with anyone – not seriously, anyway. Unfortunately, this does mean that after a while it’s hard to find a real reason to carry on. Yuna’s not going to change.

The ten-year-old girl showing off her legs on the front cover (sigh…) is Karina, the daughter of the local lord of Dezelt, where Yuna has been sent. The water gem that stops their land becoming a sand-infested monster home has cracked and needs to be replaced, and fortunately Yuna’s water gem she got from killing the Kraken is just what they need. Unfortunately, for magic reasons, only the lord’s wife (who is pregnant) or Karina can guide folks through the labyrinthine pyramid to get to where the gem needs to go… and Karina dropped the magic map in the labyrinth. Karina, wracked with guilt, has been trying to find a group of adventurers who will help her find the map again, but you’d need someone super powerful who has a soft spot for ten-year-old girls, and where in this series can we find anyone like that?

Forgive me for saying things I have said about ten times over the course of this series, but Yuna seems to have a tremendous issue with accepting praise. To the point where even casual people who have just met her see that it’s a problem. It’s pathological by this point, and even when she’s forced to accept rewards for saving the entire town, she still finds a way to quietly only take half of it. It’s frustrating to me because, as I hinted above, I don’t think this is going anywhere. The author has mostly dropped the darker aspects of the series as they’ve gone along, so we’re unlikely to hear more about Yuna’s past. And I don’t think we’re reaching any sort of crisis point where Yuna has a breakdown or admits that she has to change herself. The only way I can see that happening would be if it comes from Fina, but Fina’s not in this book. Instead we have a Finalike, who is nice enough but frankly is another earnest ten-year-old girl with a crush on Yuna to stack onto the pile of earnest ten-year-old girls with a crush on Yuna.

I am aware that I’m not the audience for this series, and that it’s squarely in the “Cute Girls Doing OP Things” genre. But man, don’t use psychological trauma as your heroine’s one character trait.

I’m in Love with the Villainess: She’s So Cheeky for a Commoner, Vol. 1

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By Inori and Hanagata. Released in Japan as “Heimin no Kuse ni Namaikina!” by GL Bunko. Released in North America by Seven Seas. Translated by Kevin Ishizaka. Adapted by Nibedita Sen.

I’ll admit I was surprised when I heard that this spinoff was being written. After five volumes of the main series, with so much that’s possible to explore, do we really need to have a retelling of events of the first book from Claire’s perspective? Fortunately, the answer is yes, we do need to have this. When I reviewed Book Two of the main series I talked about how much I loved Claire’s character development even though so much of it had to be filtered through Rae’s POV. Now we’re able to see that first hand. That said, this is still an adaptation of the events in the first book, meaning that much of the character development is still to come. We do see Claire’s inherent goodness and kindness, but we also see a lot of arrogance and ignorance of the class system that has propped up families like hers. Over the course of the book, Claire starts to get better about noticing that other people – even her good friends – have differing opinions.

Claire Francois is enjoying her life as one of the elites in the Royal Academy… at least until one day a commoner starts pestering her, and harassing her, and confessing love to her. It’s maddening, of course. Especially when said commoner ends up getting hired as Claire’s second maid! That said, she’s just a commoner, so a spot of mild bullying should do the trick and drive her away. Unfortunately, Claire’s friends Pepi and Loretta have ideas for bullying that are far more sadistic than what the essentially good-hearted Claire has in mind, so she gets nowhere. Over the course of the book, Claire is forced to confront her preconceptions about her friends, her roommate Catherine, lesbians, and commoners. Then just when she thinks she has a handle on things, she’s faced with the worst kind of betrayal.

As you may have noticed, this is not just a straight “write the same scenes from the opposite POV” side story. For one thing, Claire’s friends, known to the reader (and to Rae) as “Those Two Girls” get actual things to do and times where they disagree with Claire… though they also rely on her a great deal. We also get a brand new character, Claire’s roommate Catherine. Catherine is deeply connected to Claire’s traumatic past, and is also the daughter of a family that rivals hers, though Catherine’s status as part of that family is less than ideal. Of all the new things introduced in this book, she’s the most interesting to me, and I have a sneaking fear she won’t survive the series. She may have an agenda of her own for all I know, but her main role in this book is to give Claire good advice and try to get her to open her horizons… though she ends up rather startled when Claire is able to return the favor later on by forcing Catherine to leave her gilded cage.

As for Rae herself, Claire consistently refers to her as “the commoner” in her narrative voice throughout this book. I expect that will change in future volumes. If you enjoyed the main series, there’s absolutely no reason not to get this as well.

Slayers: The Long Road Home

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By Hajime Kanzaka and Rui Araizumi. Released in Japan by Fujimi Fantasia Bunko. Released in North America by J-Novel Club. Translated by Elizabeth Ellis.

After the previous volume, which was essentially an anniversary special, Kanzaka seems to have remembered how much fun it was to write Lina and Gourry, and so has returned to Slayers once more to kickstart a new arc. That said, he knows that he’s already used up most of the plots and fight scenes that he can in Lina’s world. There’s only so many times that you can battle a Dynast General and not have it seem dull, you know? Of course, he COULD just give in and write Lina taking Gourry to meet her family, which she’s been trying to do for the last couple of books, but that would involve writing her family, and we already know that characters like Lina’s older sister Luna work better as an unseen threat. As such, this volume DOES start with a battle with a Dynast general… who promptly gives in because Lina’s reputation is Just. That. Bad. Unfortunately, when they emerge from the fight they’re not in Kansas… erm, Zephilia anymore, but in a completely different place.

As it turns out, Lina and Gourry hail from the demon lord side of the continent. There’s also a dragon side of the continent, separated by a strong barrier to keep the two sides from meeting. And now Lina and Gourry, thanks to that annoying Dynast general, are in Ceifeed lands, with no idea how to return home. They spend most of the start of the book trying to decipher the different writing system, figure out the money conversion, and slowly making their way towards a real city. Along the way they run into a spunky young girl, Ran, who may act like a hyperactive tween but also can use wind magic and has an incredibly powerful staff. Unfortunately, as they move along, it becomeds apparent that Lina’s type of sorcery is far more powerful than these foiks are used to… and they want it for themselves.

The main issue I have with this book is that it’s a setup for more books down the line. Ran is a fun character, but we learn next to nothing about her, nor do we know anything about her motivation for traveling with Lina and Gourry. The villains in this book (leaving aside the city guard guys, who are more mooks than anything else) tend to blend together like most minor Slayers villains do, but they certainly show a callous disregard for human life or property… something that becomes more understandable when you realize who they are. Other than that, this is a perfectly decent Slayers book. Lina and Gourry are always fun, and we get to see Lina trying to get past her own reputation even in a place where it doesn’t precede her. The fights are action packed, and if they ever animate Slayers again might be fun to see. It will be interesting to see where this arc goes.

Unfortunately, this book came out in 2019, and there’s no Vol. 18 on the horizon, so we may never see how the arc goes. Which is the most frustrating part of this book, to be honest.

Tearmoon Empire, Vol. 9

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By Nozomu Mochitsuki and Gilse. Released in Japan as “Tearmoon Teikoku Monogatari” by TO Books. Released in North America by J-Novel Club. Translated by David Teng.

I’m not sure how long Tearmoon Empire is supposed to be, or even if the author has an ending in mind. Certainly Vol. 12 is due out in Japan soon, so we’re not anywhere close to the end at the moment. And yet it feels that we have at least started to hit the back half of the series, if only because we’re getting flash forwards that aren’t always depressing nightmares. The last couple of volumes of Tearmoon Empire have shown us glimpses of the main cast in the original world after Mia is executed, and this volume has one as well. It’s meant to show us all the good that Mia has done her second time around, even when she doesn’t always realize it. But here we also start to see flashforwards that seem to be the ACTUAL happy future, showing us an older Mia still happily running rings around everyone even if the narrator insists that she’s being a selfish coward. I really enjoyed reading them.

We pick up right where we left off at the end of the previous book, with Mia and company trying to stop Prince Sion from being poisoned by his younger brother. They succeed at this… accidentally, but the actual poisoning that happens is much worse, and requires everyone (but particularly Tiona and Citrina) being incredibly quick-witted. After the fallout from this, there’s still a massive party with nobles to attend to, so Sion and Abel decide to fight for Mia’s hand once and for all in a sword duel. Which comes as a big surprise to Mia, who as usual in matters of the heart seems to act like a girl her age. That said, when Sion actually confesses to her, she knows that this isn’t something she can actually brush off or deflect, and gives him an honest, sincere answer. Even the narrator is (mostly) silent here.

Tiona spent most of the start of this series either absent or barely appearing, which was a surprise given the role that she had in Mia’s original timeline. But gradually she’s grown in importance as a character, and here we see what Mia’s actions have wrought, which is that she and Sion have now had enough character development that they can genuinely confide in each other. While Tearmoon Empire isn’t quite a “villainess” book per se, and is not derived from an otome game, Tiona absolutely fulfills the “heroine of an otome game” archetype, including being able to see past noble bullshit and get to the heart of the matter. As for Mia, she’s getting smarter by the book. I especially loved when Citrina praised her for her foresight in finding the antidote mushroom, and Mia briefly debated taking credit for it, but decided to tell Citrina that it really was just pure coincidence. I’m hoping that in future books we can see her be even more honest with others about her real motives, though the basic premise of the book tells me I won’t see it too often.

This was an absolute banger of a book, wrapping up this arc in fine fashion, and with several real dramatic moments. Next time we’ll be going to The Valley of Horses, but hopefully not in a Jean M. Auel way, and presumably we will slowly set up the next arc but not pay it off. These books are long, as are the arcs.

Adachi and Shimamura, Vol. 10

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By Hitoma Iruma and raemz. Released in Japan by Dengeki Bunko. Released in North America by Seven Seas. Translated by Molly Lee.

Finally, after two volumes with illustrations ranging from minimal to none, we have a new artist. I had speculated last time that Non, the old artist, had left the title as they were ill, but I’ve since found out that it’s more “they are shifting their career goals”, i.e. they’re only drawing BL now. Which is fine. Replacing them is raemz, who is best known over here for the gorgeous illustrations for Chitose Is in the Ramune Bottle. So things are back to normal with this series… for the most part. This volume, following up on the 8th book, spends far more time in the future with Adachi and Shimamura moving in with each other after graduating and getting jobs. Iruma has never really been all that fond of linear storytelling, so I’m not too surprised, but it does also remind you that the series is winding down. Indeed, the author states in the afterword that the 8th book was the “final” one, and the four to follow are afterwords. And Dengeki confirmed 12 will be the last.

As noted, the book is divided into ‘present’ and ‘future’ sections, with the former narrated by Shimamura and the latter mostly by Adachi. In the present, now that Adachi and Shimamura are dating, and given that the author is not really going to do anything with Hino and Nagafuji here after they got a major spotlight last time, there’s really only one plot thread to wrap up. Or rather, to cut. Tarumi is still around, still has a major unstated crush on Shimamura, and still wants to hang out with her. And credit to Shimamura, here we see what all this interaction with Adachi and Yashiro has wrought, as she decides to deal with the issue head on telling Tarumi that she’s dating Adachi now. The scene is meant to be heartbreaking, but sadly, most of Shimamura’s narration still puts a layer of gauze over everything, so I think it’s merely bittersweet.

There’s quite a bit of Yashiro in this book, as she spends most of it dressed up in onesies of various kinds of animals. I’ve joked before about how I’m the only fan of the series who likes Yashiro, but I do think that her role in the story is very important. First of all, she deserves just as much credit as Adachi for getting Shimamura out of her passive daze and forcing her to take a good long look at herself. Adachi does this directly by being a vibrating ball of gay, but Yashiro always does it indirectly, so it’s harder to spot. She also gives Adachi and Shimamura a gravitas that they would not otherwise have. The idea from prior books that there are many alternate universes, and that all of them have Adachi finding Shimamura in them, is a nice one that distracts you from the fact that these books can be very, very dull if you let them. Future Shimamura also seems to realize that even after they’ve moved to a different city, Yashiro is gonna show up anyway. She’s the spice.

Adachi and Shimamura 11 just came out in Japan last month, so it will no doubt be a while before we see it here. Till then, enjoy the present, as Shimamura cuts ties with an old friend, and the future, as Adachi and Shimamura move in together and share a bed but are quite asexual about it all.

My Stepmom’s Daughter Is My Ex: “The Only You in the World”

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By Kyosuke Kamishiro and TakayaKi. Released in Japan as “Mamahaha no Tsurego ga Motokano datta” by Kadokawa Sneaker Bunko. Released in North America by J-Novel Club. Translated by Gierrlon Dunn.

This series is definitely one which enjoys being for otaku nerds, and expects its readers to keep up. Fortunately, it also has Yume, who is not an otaku nerd, and who sometimes needs things explained. (There’s a Haruhi Suzumiya joke here, and it’s remarked on how old that series is.) It also leans heavily on the sort of stereotypes such fans enjoy. And Isana Higashira leans heavily into those stereotypes. She’s the weird one. She talks like she’s from the 19th century. She’s got a really big chest. The whole nine yards. She’s also a hoot to read. I was quoting this book on Twitter while I read it, and everything I was quoting was one of her lines. That said, there’s a reason why, despite her plotline supposedly wrapping up in the second volume, the author came back to look at her in more depth. It’s because real life is not like light novels, and people don’t really get over being rejected by their first love that easily.

Mizuto and Yume return from their trip worse off than before, thanks mostly to Yume’s inability to spit her feelings out and Mizuto’s talent for rationalizing anything as “not in love with me”. They’re back home, though, which means that Isana can come over. A lot. And hang out with Mizuto, and get in compromising situations with Mizuto, and go out on a date with Mizuto (and Yume, who invites herself along), and introduce Mizuto to her mother. It should not really come as a surprise that, when school finally goes back into session, the rumor among the class is that Mizuto and Isana are dating. And Yume, trapped by her own inability to get her own feelings across, can’t say anything. Unfortunately, suddenly being the center of attention, and having the reason for that be a lie that everyone believes, makes Isana very unhappy.

The subtitle of this volume comes from Isana’s awesome mom, who sounds like she starred in a light novel series of her own as a teen. Isana suffers from an inability to read social cues, and when she asks things that to her are not obvious, she binds that everyone gets upset and she’s isolated. Mizuto is the first person her own age she’s met who not only does not get upset by her but is able to interact with her as a friend. This is why she fell for him so hard, and it’s also why, despite everything she’s told him, she can’t get past being rejected quite yet. The author mentions in the afterword that he originally ended the volume with Mizuto being more cool and dramatic, but that Isana was telling him that something wasn’t working there, so he went back and wrote the ending we have now, which feels more in character.

Yume will still eventually get together with Mizuto, of course, whenever this series ends. That said, I can understand why the author says Yume “feels like she’s losing” after this book. Isana, if nothing else, deserves her own spinoff.