By Yuiko Agarizaki and Aoaso. Released in Japan as “Ryu no Hime Brunhild” by Dengeki Bunko. Released in North America by Yen On. Translated by Jennifer Ward.

No, this isn’t a direct sequel to Brunhild the Dragonslayer, and thank the Lord that the author decided against the weird “Brunhild wanders through Hell” plot they mentioned in the afterword. In fact, this takes place long before the first book. That said, you will find the cast of characters familiar. As if this was a Tezuka series, we see the main characters of the first book recast in the second book, as if they’re a company of actors. That said, there’s a totally different plot for the characters, and a lot of the thing that we thought we understood from the first book are upended here. The first book was about Brunhild’s revenge against humans. This definitely isn’t. Also, while the first book was more a Wagnerian tragedy, I think this one swings more Greek. It’s still a tragedy, though, believe me. Brunhild was voted the series least likely to get a 4-koma spinoff manga. That said, it is, like the first in the series, a VERY well written tragedy.

Brunhild is a priestess whose family works closely with the royal family. She lives in a kingdom that is protected by the Divine Dragon, who will keep everything peaceful and happy provided that a) no one leaves the kingdom, and b) he gets sacrifices every month. This is a problem, as the current priestess, Brunhild, is an all-loving sort who will even pick up dying children on the street and nurse them back to health, so the fact that she has to give seven people a month, mostly orphans that no one will cry over, to the dragon is a bit upsetting. She tries to talk the dragon out of the sacrifice, but he absolutely does not agree. Then she makes the mistake of staying behind to see what happens. Something if going to have to be done. And all Brunhild has is her manservant (who she picked up when he was dying on the street), her bestie Sigurd (the royal prince), and Sigurd’s good but kinda stolid guard Sven.

It’s hard to talk about this book without spoiling some very good things, but I will do my best. It’s divided into four chapters, and each of them essentially ends up upending everything we thought we knew about where this story was headed. There’s also a lot of great themes here, such as the desire to be able to trust allies and friends versus the feat that they will betray you in the end (which, trust me, gets zigzagged throughout this book), what love is and how someone can be deeply in love and never realize it just because they don’t understand what trauma is, and how sometimes you need to try to achieve an impossible dream, even if you fail badly and end up regretting everything. This book is just as dark as he last book, but it reads very easily. You’re really rooting for them to defeat evil and save everyone and… well, there is more to this series, I guess.

Yes, next time we get another book in the timeline of this country with more Brunhild. Just not this Brunhild, or the one from the first book. I’ll still be looking forward to reading it, though.

By Yuiko Agarizaki and Aoaso. Released in Japan as “Ryugoroshi no Brunhild” by Dengeki Bunko. Released in North America by Yen On. Translated by Jennifer Ward.

About a month ago I gave a rather savage review to a villainess-style novel about a lady getting her revenge because the revenge she got was beyond all possible reason. It made her loathsome. It defied the genre. That’s why I really hated it. That is not, though, to say that I inherently dislike tragedies with the death of innocents. They just need to be set up correctly. Everything about Brunhild the Dragonslayer, from the quote on the frontispiece of the book to the afterword, tells you that this is not going to be a happy book. But the genre is, essentially, opera. It’s Wagnerian, and everything about it, from the start to the end, tells you this will end in blood and gore. When a villainess “gets revenge”, at most it ends in a heroine having to be shut away in a hospital or a prince being exiled. When Brunhild gets revenge, the heavens cry and the city weeps. It’s that kind of book. It’s also really excellent.

A powerful silver dragon lives on an island of Eden, where everything is… well, much like the Garden of Eden. The dragon occasionally has to massacre the humans who come to the island to try to kill him and get the treasures and knowledge from the garden, a somewhat fruitless endeavor given that the moment the dragon dies the garden burns up. But one day a 3-year-old girl, mortally wounded, is found on the island, and she’s covered in the dragon’s blood, which is lethal to humans. Well, mostly. 1 out of 10,l000 humans survive. Guess what, the girl is one of those. For the next several years, the girl grows on the island, and eats the fruit of the island, is friends with the fauna, and loves her dragon dad. Then humans finally invent tanks and poison gas, and the dragon is killed. His final request of his daughter is not to seek revenge. Erm. Bad news there.

Getting the bad out of the way here, there is some weird incest subtext in this that I felt was unneeded, and it comes up a couple more times as the book goes on. IMO, it’s unneeded. (Probably down to the Wagner motifs.) The rest of the book, once we get to the girl (now called Brunhild) and her life in the human world, is riveting. Every time that she asks an innocent character who seems to like her where her father is (her human father, that is), you can hear the metaphorical tolling of a bell. It’s also terrifying how quickly she is able to manipulate the human heart, playing on the same emotions that other see in her in order to try to achieve her goals. There is one case where she actually seems to bond with someone – her human father’s other son, Sigurd, who is dealing with a bad case of parental disinterest and jealousy, genuinely bonds with her. But that bond is not enough. Revenge has to win.

After finishing the book, you will no doubt be as surprised as I am that there’s a second volume coming out soon. Judging by the synopsis, it features the same themes but a different cast. As a standalone, though, this is gloriously bleak, tragic, and upsetting. Recommended.