By Mato Sato and nilitsu. Released in Japan as “Shokei Shoujo no Virgin Road” by GA Bunko. Released in North America by Yen On. Translated by Jenny McKeon.

There is a famous quote (actually he said it a number of times) by Anton Chekhov about dramatic principles. One of the quotes says “If in the first act you have hung a pistol on the wall, then in the following one it should be fired. Otherwise don’t put it there.”. This is a perfectly fine dramatic tenet to use, and I have no real issues with it. That said… you still need to write something OTHER than the pistol hanging on the wall. You can’t just have 90 minutes of ‘pistol on the wall, la de da’ and expect the audience to stay invested. In case you’re wondering where I’m going with this, the 5th volume of The Executioner and Her Way of Life does have some guns go off near the end of the book. But the first half of this volume may be one of the most boring I’ve seen in Japanese light novels, as everyone walks around aimlessly, reiterates what we already know, and waits for Menou to have some revelations about herself.

Everyone’s arrived at the Holy Land. Flare has taken Akari, put her in an ivory tower, and given her an existential crisis to keep her busy for most of the book. Momo and Ashuna arrive there, and have some warmed-over banter before Ashuna promptly exits the plot after seeing a future plotline. Momo is, to her surprise, taken in by the Archbishop and put to work with Hooseyard, who is a summary of all the “naive but nerdy” glasses girls in anime. Manon, Pandaemonium, and Sahara have arrived to wreak havoc. And Menou has arrived to fight Flare and lose, because she knows that’s going to happen. The problem is that she’s right for the wrong reasons. Something she figures out when they fight and it becomes clear that Menou has surpassed her master… in all ways but one.

The book turns around, as I said above, once Menou has a horrific realization: she’s only killed strangers she barely knew, and when she tries to kill someone close to her, like, say, Flare… she can’t do it. In other words, despite forcing herself into the role of a “villain”, she has empathy. Surprise! That said, it is pretty dramatically satisfying, and I enjoyed her burst of hysterical laughter. Akari has the misfortune of spending most of the book in a state of shock after realizing that if Menou dies, and she has to rewind time again,. she’s probably going to start losing her memories of her time with Menou, which nearly destroys her. Of course, there’s an obvious answer to this for both of them, one that Flare (who seems to be trying to commit suicide by cop throughout this book – Menou is the cop) is trying to hammer home. By the end of this book, we’ve finally moved past “I’m going to kill Akari/Only Menou can kill me”, and it will be interesting to see where things go next, especially after seeing the last few pages, which confirm something hinted since the start of the series.

I’ll keep going with this, because I want to see what happens to the characters. But “writing style” is not a reason anyone should read this series, and it makes the front half of this volume sheer murder.

By Mato Sato and nilitsu. Released in Japan as “Shokei Shoujo no Virgin Road” by GA Bunko. Released in North America by Yen On. Translated by Jenny McKeon.

For the most part this fourth volume of The Executioner and Her Way of Life is a bit of a breather volume. There’s pretty much zero gore, which is nice. Akari and Momo prove to be highly amusing together as they pettily snipe at each other, and both are more interesting away from Menou. And the running gag of various enemy agents being forced to admit they’re sex pests to avoid giving away their cover runs long enough to be funny and just that long. Plus we get the addition of several old villains, and they’re almost pleasant. All this and hot springs. The whole thing would be lovely if it were not for the fact that Akari is still a ticky ticky timebomb… or is she? As Menou slowly figures out… or is straight up told… various parts of the plot, she rapidly realizes that killing Akari to save the world might not be what’s actually going on. Unfortunately for her, her Master has come to take over.

Akari and Momo, reluctant allies – very reluctant – take a train to a nearby hot spring town in the mountains. Neither one wants to be around the other, but they both have one thing in common, which is that they want to save Menou’s life. Unfortunately for them, Menou managed to go after them much faster than expected due to the obvious solution of “ask Ashuna for money and a ride”. Good news for Ashuna (and the reader), this involves Menou dressing in a butler uniform. And, as it turns out, EVERYONE is arriving at this little mountain town, including Pandaemonium, who lacks power but is still dangerous, Manon, who is resurrected with a new body, and one other surprise guest. Things do not build to a furious climax, alas, but peter out, as Akari ends up spirited away by the one person whose presence has suffused this whole series.

The best parts of this book were the parts with Akari and Momo. Their constant insults and angry bitching is funny, yes, but as the book goes on we get to see how both of them are generally a lot kinder than they’d like to let on, and Akari in particular feels less upset by Momo’s attitude after she realizes that Menou is pretty much all Momo has. We also get a lot of stuff explained to us here, such as the nature of Conjurations, why Akari has to be killed, and what really happened in the past. This even ties in with Japoan, not only because the hot springs mountain town is the closest we’ve seen to Japanese culture in this world, but also because there may be a way to get Akari back after all. If she wants to go. And if she can put up with mass murder. And of course Flare, near the end of the book, shows us, unsurprisingly, that she’s not going to arrive to save the day.

This series has a cast that are interesting and fun to read about but are all, except maybe for Menou, various shades of unpleasant. It makes for an intriguing read.

By Mato Sato and nilitsu. Released in Japan as “Shokei Shoujo no Virgin Road” by GA Bunko. Released in North America by Yen On. Translated by Jenny McKeon.

This series continues to go back and forth between things I quite enjoy and things that kind of irritate me, and in this book they’re about fifty-fifty, meaning it gets a reluctant recommendation. There’s far less Akari in here than I’d like, though her scene with Momo was the highlight of the book, and promises good things for the book after this. We also get an amusing new addition to the cast, a colleague of Menou’s who seems to be a airheaded flirt, though it’s implied throughout that this personality is a front. Which is a shame, as I liked it better than the personality that showed up later. There’s lots of cool fights, all of which seem to point to the value of “being pretty good at everything because of working really hard” rather than “has an innate natural gift”. Which I’d appreciate more if it was not undercut by the implication that the supposedly hardworking woman is in reality Very Special Indeed.

Menou and Akari are making their way through the desert, which turns out to be another area that was completely devastated because of a Japanese isekai gone horribly wrong. Things start off badly as Akari has already been kidnapped as the book begins, and Menou has to infiltrate a criminal organization to rescue them. There she runs into an old colleague from the orphanage, Sahara, and the three of them proceed to a nearby oasis city, with Menou now having to suffer the attention of *twp* bokes. Arriving at the city, she and Momo get the help of Princess Ashuna, who is essentially in this book to be cool and not much else. Unfortunately, she and Menou have to fight off a dangerous crime lord, so Menou sensibly leaves Akari back at the hotel. Which ends up being the biggest mistake she makes in the book.

The problem I have with Sahara is likely down to the character skewing away from my tastes. I really like the ‘sleepy ditzy flirt’ sort of character, and when Sahara is revealed to in fact be a ball of jealousy and envy, I wonder what the point was in having her be likeable for 3/4 of the book at all except to annoy me. Then again, when the reverse happens – i.e. when Akari gets her suppressed memories back – I actually tend to like her more, so hey. And yes, everyone is angry at Menou for being ‘the chosen one’, and Menou keeps insisting that she’s not all that great and is just a fairly normal person, which is fine except it’s pretty clear that she’s also got a past that’s been completely suppressed. Which just makes me more annoyed.

Basically, it’s hard to like anyone in this series because they could turn into something completely different down the road. I know that “change is a process” is the theme of the books, but there’s a bit TOO much change. Right now, Momo is my favorite character because she’s at least consistent. That said, sure, I’ll read more.

Also, naming the new character in your desert-themed book Sahara is kind of like naming your dog Spot.