Nia Liston: The Merciless Maiden, Vol. 4

By Umikaze Minamino and Katana Canata. Released in Japan as “Kyōran Reijō Nia Liston: Byōjaku Reijō ni Tenseishita Kami-goroshi no Bujin no Kareinaru Musō Roku” by HJ Bunko. Released in North America by J-Novel Club. Translated by okaykei.

I will admit, as I was reading this new volume about a small little girl beating the absolute hell out of things she has no business beating, I could not help but think of Do-Over Damsel, which has an anime running this fall and also features lots of this sort of thing. They even have similar “this is vaguely creepy but doesn’t quite cross a line, but I’m watching you” characters. That said, whereas with Jill I tend to really enjoy it when she finally lets loose and lets violence be her answer for everything, with Nia there’s no question that the magivision has become more interesting to me. There’s simply not much about Nia murdering ancient giant crabs by punching them a few times that I can say anything about, beyond “nice punch”. But if she’s being manipulated by royalty (again) or trying to think of things to get ratings besides outrunning dogs, I’m intrigued. And, so far, those are the two plots – though that may change soon.

Nia is a bit grumpy at the start of this book. Relia has stolen Nia’s thunder with the paper play show, and everyone in the school is talking about it. That said, she’s not frustrated enough that she won’t help Hildetaura come up with her own popular show – even if the extent of Nia’s help is “let me ask my brother to be clever for me”. Her greater concern, though, is earning that one billion. Adventuring is earnin g tons of cash, but tons is not enough. As a result, she and Lynokis take a trip over the holidays to a different country filled with expensive monsters that Leeno – or rather, Leeno’s child assistant – can murder without destroying their value as a carcass/magic corpse. Unfortunately, doing feats no one has been able to do in a hundred years attracts the wrong kind of attention.

Possibly the most interesting part of this book was the occasional “had I but known” hint that implies things are going to go very badly for Nia at some point in the future, implying she may have to flee the kingdom. Certainly, while she can quickly take action when her future is definitely being threatened, she is otherwise completely uncaring about being manipulated by the two royal princes in order to get what they want – and, let’s face it, Nia’s best resource is her position as Nia Liston, not her secret super strength. She’s a celebrity, and outrunning dogs is all very well and good, but that’s just more important than punching crabs. Unfortunately, a lot more crab punching may be needed to get that tournament, so I suspect we’ll be getting more fighting next time, though it’s also possible that the politics that threatened in this book overflow at last.

This was a decent volume, but again, I’d like a bit less “Nia hits things”, please.

Saving 80,000 Gold in Another World for My Retirement, Vol. 6

By FUNA and Keisuke Motoe. Released in Japan as “Rōgo ni Sonaete Isekai de 8-Man-Mai no Kinka o Tamemasu” by K Lanove Books. Released in North America by Kodansha Books. Translated by Luke Hutton.

(A reminder that the English Vol. 6 is the equivalent of the Japanese Vol. 7.)

I seem to recall that in earlier reviews of this series, I would applaud the very rare effort to give Mitsuha some depth, such as her reaction of grief when discussing her family in the first book, etc. Anyone who has been following later volumes of this series will, I think, agree with me when I say that depth is the last thing I want now. That honestly applies to all three FUNA series, I think. As they’ve gone on and gotten bigger and bigger, it’s clear the author knows exactly what their skill set is, and it’s writing a cartoon. Not a Japanese anime-style cartoon, but like a Hanna-Barbera cartoon with Mitsuha as both Dick Dastardly AND Muttley. Not only do we not take Mitsuha seriously, but none of her allies take her seriously. The only ones who do take her seriously are the ones desperately trying to either curry favor from her or sabotage her. She destroys those people.

The bulk of this book continues to take place in Vanel, as the royal family finds out that Mitsuha holds grudges forever (though the third princess manages to find a way around this, in one of the funniest scenes of the book). She deals with a rival company breaking into their warehouse and stealing their merchandise, and then decides that the best thing to do is to start a society of cute teenage noble girls, get them to bond with each other over a shared goal (get Mitsuha’s makeup, which she starts to introduce here), and make then the biggest force in the country, as they also end up funding a relief column for one of their members whose barony is experiencing a famine. Meanwhile, back in Yamano County, she’s building entire islands just so she can trade as a tax dodge, and once again setting up a young girl to run it so they can get better marriage prospects.

As with all FUNA series, if you scratch at the core of this you find “I want to write about cute 8-13-year-old girls, but not in a sexual way, just in a cute and empowering way”. Potion Girl and MMAA also do this, with the “gimmick” being the lead is always a reincarnate in a permanently 12-year-old body. Mitsuha’s not a reincarnate, and is 18, but her looks are basically the same thing. And the goal of 80K Gold seems to be to get all these little girls running the economy. After 7 volumes they’re all store owners, merchants, etc., finding better ways to transport goods and Mitsuha can barely keep up with them, to the point that she needs to invent a better sugar here so she can make rum to use as a bribe. Honestly, this volume is best when it’s making fun of Mitsuha and itself – her tendency to monologue for pages on end about her grand plans are now shown to be her saying them all out loud without realizing it, which reminds me a lot of Elgala from Excel Saga. And honestly, this series sort of fits in with the vibe of Excel Saga. We’re even siding with a villain. (Mitsuha. Mitsuha is the villain.)

As always, if you don’t read everything by this author, don’t read this. If you do, it’s good.

Young Lady Albert Is Courting Disaster, Vol. 8

By Saki and Haduki Futaba. Released in Japan as “Albert-ke no Reijō wa Botsuraku o Goshomō Desu” by Kadokawa Beans Bunko. Released in North America by J-Novel Heart. Translated by Ray Krycki.

Usually when I say that a final volume of a series is doing what I call a “victory lap”, I don’t mean it literally. And yet that’s exactly what happens here, as we join the main cast as they take a tour of every major character we’ve met before, every major place we’ve visited, and have all the possibly comedy antics you could want. Honestly, probably more than you’d want. It’s been so long since the first volume that I’d forgotten how particularly thick-headed Mary can be when she wants to ignore things that troubled her, A lot of the humor near the start of this book is her having to be reminded of all the bad things that happened to her in previous books, and her having completely forgotten everything about them entirely. That said, she and Adi at least have an excuse: Their lovely daughter, who is the spitting image of her mother both in appearance and attitude and is ready to take the world by storm.

This volume takes place six years after the previous one. Roxanne, Mary and Adi’s daughter, has a mission. She’s written invitations for a big party where her mother has an important announcement, and now she plans to deliver them all by hand in person – by herself. Needless to say, this requires strategy, so Mary and Adi seemingly agree while also secretly tailing her. She starts off visiting the royal palace, where we meet Patrick and Alicia’s son Felix, who if nothing else proves that Alicia does actually seem to love Patrick more than Mary – romantically, at least. Felix joins Roxanne in her solo (?) jaunt, and Patrick and Alicia join Mary and Adi in tailing them. We then get to see most of the major characters from previous books, including Parfette and Gainas’ newborn twins (it makes sense they’d take six years to get around to this). But what *is* Mary’s big news at the party?

This is pretty much one of those “everyone is going to be in male/female pairings by the end of it” series, so it’s rather surprising that the most interesting parts for me was when it went outside that bubble. Helene, the single mother from the last book, has moved to Albert Country, and is being courted by BOTH of Mary’s brothers, as well as their attendant. What’s more, it’s made clear from discussions about the brothers that they function as a unit far better than they ever would when competing. It’s no wonder this is the one romance left up in the air – a woman marrying three men would likely be one bridge too far for most readers of this genre. Then there’s Mary and Alicia, who manage to reaffirm their relationship and also admit that they love each other – and that they are NOT the villainess and heroine in an otome game, something Alicia has to sort of pound into Mary’s head. They’re still my favorite part of the series.

The ending twist promises that otome game villainesses may continue into the next generation, but we’re not going to be seeing that. Let’s be content with Mary Albert, drill-less, happily married, with a lovely daughter and another child on the way. She failed spectacularly in trying to engineer her doom. But then, so did Katarina Claes, who I remind everyone debuted only one month before this series in Japan.