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.

Yona of the Dawn started off pretty serious, given the nature of its plot. It always had some humor, but in the midst of regicide and fleeing from a murderous former trusted friend, you can understand why things were a bit edgy for a while. But now Yona is collecting allies, and learning to shoot a bow, and things are looking up even if she is occasionally still attacked by bandits or led into deathtraps by terrified villagers. This allows the author to bring in a lot more humor – the third volume already had a lot of this, but this one finds almost the perfect balance between action fantasy, tragic backstory, and hilarious shenanigans.

the hilarity tends to come from three different places. First we have Yun, the resident tsukkomi of the group, who keeps them from dying in the middle of the woods and tries to provide actual common sense among a group that sorely needs it. His line in snark is good, but it’s his offhand introduction of himself as “genius pretty boy” that made me giggle most. (And he’s not wrong – this is a very attractive cast in general.) Hak and Gija, meanwhile, are both attracted to Yona, though they either won’t admit it or aren’t aware of it, so this naturally puts them at each other’s throats. Luckily it’s in a comedic way, and I was reminded a couple of times of the dynamic between Legolas and Ginli – particularly with counting the number of dead bandits. And there’s also Yona, whose humor comes when she steps away from her princess and savior mode in order to, say, beat her would-be lovers across the head, or insult a squirrel’s name. This is a very amusing book.

This does not take away from its other qualities, though. We meet another Dragon Warrior here, and his past is tragic and filled with violence, and I suspect meeting Yona will be the best thing that ever happens to him – though you may need to convince him a little more first. It’s easy to be terrified of someone who’s different from you, especially if they have a mysterious power that can seemingly kill people. Luckily, nameless Blue Dragon (he was too unloved to be given a name!) is found by Yona and company. There are also lots of fights interspersed through the volume, which Yona does not take part in, though she is getting better with a bow. I like the scene where Hak admits he hates the idea of her learning to fight but loves the idea of her learning to be stronger – it strikes a nice balance between the patriarchal “women shouldn’t be doing this” and his growing respect for Yona as a young woman.

I’m not sure how long it will take to convince the Blue Dragon to come with them – not long, I expect, it’s not like he has much tying him down – but I eagerly await things being resolved in the next book. Must-read shoujo fantasy.

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.

Yona of the Dawn has clearly been a fantasy series from the get go, but with this volume we also see it starting to take on the quality of myth. Or rather, of creating a myth, as it turns out that Yona’s red hair (something she’s always disliked) is part of a prophecy that has been bandied about. Not to mention that the priest we meet at the end of Vol. 2 turns out to be able to literally communicate with God, and also mentions a “red dragon” who will unite the land. So good thing Yona is the protagonist, then, as she certainly has her work cut out for her. Luckily, she manages to gain a few more allies than just Hak in this book.

First off, we have Yun, who I suspect was brought in by the author to fill the ‘tsukkomi’ role, but in non-meta terms, he’s got a destiny that’s bigger than just taking care of an absent-minded priest, and Yona is where he can find it. His backstory once again reminds us that this land is filled with strife, politics, and suffering, something that Yona too is gradually discovering as she realizes how much she really wasn’t aware of as the pretty princess. The other new ally is Gija (please, no romanization arguments, Japan asked for the G), who is one of the Four Dragon Warriors who wield tremendous power (as seen by his reptilian right arm), and whose ancestors have been waiting an awfully long time for Yona to show up. Being a blond second love interest sort, he and Hak naturally don’t get along, and I suspect this will be a source of amusement in the future.

This is Yona’s volume, though, and she’s really fantastic in it. She’s determined to not be useless if they get attacked by enemies again, but saying you want to learn to use a sword and bow and actually having the nerve to take a life are too very different things. Yona clearly has some skill (used, in best romantic comedy fashion, when Hak provokes her), but she’s a princess who was raised by a pacifist. Hak explicitly says that by teaching her to fight, he’s defying her late father’s order to never let her touch a weapon. Violence and strife will come to Yona, but facing them head on will not be easy. Something that she realizes as we move on.

Note that this story is not all serious murmurs about fighting and destiny. Yona and Hak may or may not be the main “will they get together” couple, but they are hilarious together, with Yona’s faces when she’s aggravated with him being particularly funny. (The start of Chapter 15 verges on magical.) And Yun, as I noted before, has a nice ability to be a grumpy snarker, having absolutely no time for Hak and Gija trying to figure out who is the best man to protect Yona. No doubt all of them will try, but I’m hoping that as the series goes on, Yona will learn more and more to protect herself. Can’t wait for the next volume.

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.

I said I had wanted more plot development, and I get a lot of it here, very well told. We do indeed see there is a Fire Tribe in addition to the Wind tribe, and their young prince is appropriately a hothead (and ex-suitor) of Yona who is appalled when his hotheaded plan ends up turning into disaster. We also do not lose sight of Su-won, who may have started off the series by murdering Yona’s father but is not going to be just another insane shoujo villain. The idea that Yona is dead fills him with grief, and also allows us to see more flashbacks. Intterestingly, we see that Hak has actually told Su-won he wants to see him married to Yona and ruling as King. There is a silent “but not like this” that is very palpable, however.

Of course, this series is not 2 volumes long, and Yona is not dead. But before that, we get a nice look at Hak in his natural habitat, as we see another cliche of romance manga used quite well, which is the sheltered rich girl arriving in the town of the peasant boy and seeing how his simple, non-affluent lifestyle is much happier than she could have imagined. Hak is a good general who cares about his tribe, but is also able to let those who are his contemporaries (in age, if nothing else) get away with mouthing off to him provided it’s not an emergency. We also get a Tiny Tim sort, Tae-Yeon, who is adorable and inspiring and also needs his medicine. The world may be filled with political machinations, but here there are just good people.

And them there’s Yona herself, who does get to wield a sword in this volume, though she’s still shaking off her princess roots. Forced to pretend to be a lady’s maid at first, that doesn’t last long, as there’s no way that she can accept “just live here in hiding for the rest of your life” while people are suffering. I was very pleased that, rather than demand to come with Hak, she announces that she’s leaving, and wants him to come with HER. He calls her quite selfish, but it’s not the bad kind of selfishness. And, as long as we’re counting tropes, I loved the scene where she cuts off her long hair with a sword in order to escape the Fire Tribe leader. Not only is that sort of scene always badass, it gives supposed evidence of her death to the King later on.

But she isn’t dead, and despite the ridiculousness of Yona and Hak surviving a fall from that height (which the author herself points out in a 4-koma at the end), they seem to have been taken in by some allies. I’m not sure what will happen next, but given the type of manga this is, no doubt it will involve destiny and power struggles and possibly cool horseback riding? And more swords! The sky’s the limit, really. Oh yes, and some cute romance would be nice, but not necessary.