Kuma Kuma Kuma Bear, Vol. 16

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 Lorin Christie.

Every few volumes, the series needs to have Yuna go somewhere she’s never been before, partly because otherwise the series would get even more boring than it already tends to be (sorry, Yuna, I really don’t care about you making omelettes from giant eggs), but also so that the audience can remember that a girl walking around in a bear onesie is not normal and does, in fact, make people think Yuna is either a child or deeply weird. They’re not wrong on the second part, but the bear suit is, of course, absolutely essential for Yuna – and she can’t actually explain why. Some folks have seen obliquely that when Yuna is not in the suit (such as the beach scenes two books ago) she’s super weak, but I don’t think they’ve connected it to “the bear stuff gives her all her power”. Honestly, if this series ever ends, that may be the final boss. Someone who steals her bear suit/gear and forces her to rely on others.

After a few introductory chapters like “let’s make pressed flowers” or “let’s make ice cream”, Yuna decides to do something she’d been meaning to do for a while: go visit the dwarves’ village. She takes Fina, because shed get lonely otherwise, and ends up picking up Luimin from the elves’ village as well. (Elves and dwarves get along fine here, confusing Yuna, who is used to fantasy cliches.) While there, they also meet Jade’s party, who are there because Toya is finally going to get his mithril sword… or at least, he would be if the blacksmith didn’t reject him for not being good enough. As for Yuna, she’s busy buying pots and pans for everyone she knows, as well as talking with the mentor of the dwarf blacksmiths she knows, who is currently refusing to make swords.

It is interesting sometimes to imagine the audience for this series. It’s filled with cute girls, so you’d think that “guys who like to see cute girls” would be the #1. That said, the book really does like to hammer home how useless the guys in it are. Yuna sometimes forgets that Fina also has a stepdad in addition to her mom. Toya is basically a punching bag for everyone else in the cast until right at the end of the volume, and his story is still going to have to wait for the next book to get resolved. Is the book for yuri fans? The author is definitely writing in more yuri tease, with both Shia and Fina indicating they’d be very happy being Yuna’s bride. Unfortunately, like a lot of yuri tease series, Yuna is always there to say things like “but I don’t like girls that way” or “that’s not happening”. Is the book fans fans of grumpy 15-year-old girls in a bear suit who constantly worry about her flat chest? That seems most likely.

This book ends in the middle of the dwarf plot, so I’d expect the next book to resolve it. Till then, this sure was a volume of Kuma Bear.

Third Loop: The Nameless Princess and the Cruel Emperor, Vol. 1

By Iota AIUE and Misa Sazanami. Released in Japan as “Nanashi no Ōjo to Reikoku Kōtei: Shītagerareta Yōjo, Konse de wa Ryū to Mofumofu ni Dekiai Sarete Imasu” by M Novels f. Released in North America by Cross Infinite World. Translated by JCT.

So there is a trend in fiction in general… honestly it’s always been a trend… to mine the tragic backstory of the protagonist for emotional trauma in the reader. We are shown how utterly, utterly TERRIBLE their life has been to date. Usually this ends up becoming “but then this happened and suddenly all my karma reversed at once”, be it meeting the prince of your dreams or just buying a Super Cub. Third Loop, of course, is one of those books. Honestly, the reason I was so looking forward to it was the sheer over the top ludicrousness of the backstory in question. Our heroine does not have a name. She’s just called “That”. That said, this particular book, while it does not minimize all of the abuse she’s gotten, is more of a Cinderella story than anything else, and most of the abuse stems from a very real place: grief.

Not only is Princess That despised by her father (who says if he ever sees her he will have her executed) and servants (her head maid is trying actively to destroy her life), but this isn’t even her first life: this is now the fourth time she’s been through this. In previous lives she’d never really experienced enough love from anyone to realize the extent of her abuse, but now, having lived in one life long enough to escape the royal estate and be taken in by a commoner family, she knows what actual love is. As such, she now decides to fight back, be it using her past memories to appear to be a genius or “messenger of heaven” or just looking really sad and crying in front of sympathetic maids and knights. And, as it turns out, she’s really quite powerful, and in this fourth life, things finally start to go her way.

For the most part I really enjoyed this. The Emperor, Feilong, was deeply in love with his wife, to the point where it actively caused political issues. (Honestly, the backstory of the previous generation sounds more interesting than the main one being told here.) Unfortunately, she died giving birth to her daughter, and in his crushing despair, he decided that his daughter killed her. That said… it does not really take much to change his mind. Honestly, everyone in this book, with the exception of the head of the inner palace, Mion (who is aiming to be the Emperor’s new wife), is relatively easily won over by the princess, because it turns out that she is not, in fact, a monster but is plucky, smart and cute. The one drawback in the book is that once her father and brother are won over, they start to have “jealous of other men who are close to her” rage, which is used comedically but made me sigh, especially since in this life, the princess is three years old for the majority of the book.

This is another one of those books that feels complete in one volume, but there’s apparently at least two more. Fortunately, the nameless princess gets a name before the end of this book. I bet they don’t change the title, though. A rewarding read if you can get past the traumatic backstory of everyone.

The Tatami Time Machine Blues

By Tomihiko Morimi and Yusuke Nakamura, based on the play “Summer Time Machine Blues” by Makoto Ueda. Released in Japan as “Yojōhan Time Machine Blues” by Kadokawa. Released in North America by HarperVia. Translated by Emily Balistrieri.

I had mixed feelings about The Tatami Galaxy as a novel, as I appreciated the story, the writing, and the other characters, but the nameless protagonist drove me nuts. We honestly spent far too much time inside his head, to the detriment of my enjoyment. If only, I probably did not think at the time but should have, there could be a book with the same cast but where events happen so fast and require so much action that the protagonist does not have all that much time to be a pretentious ass? I was probably yearning for a book just like this one. Taking a pre-existing play written by frequent collaborator Makoto Ueda before The Tatami Galaxy was written (it has a famous live-action film of its own) and putting the Tatami Galaxy characters in it is a fantastic idea, mostly as it turns this into a comedic farce. And boy do these characters work well in that genre.

This is not a sequel to the original, but more an “alternate story”. The setup is the same. The narrator lives in a dilapidated apartment complex, he has his terrible best friend, his cool beauty crush, and the annoying guy who’s been a college student for at least ten years now. The plot starts when the remote for the complex’s one air conditioner, in the narrator’s room, is broken and it’s the hottest time of the year. This is a problem, as they’re busy doing things like making Akashi’s movie about a time traveler going to the Shinsengumi period and turning them all into slackers. Then a *real* time machine shows up, and they get the bright idea to go back in time and grab the air conditioner remote before it gets broken. But… doesn’t this create a time paradox?

The discussion of time paradoxes and closed time loops is interesting, but honestly it’s just an excuse for madcap antics and the narrator freaking out at said madcap antics. The narrator has the same problem he had in Tatami Galaxy – he wants to ask Akashi out but is too much of a coward – but aside from one section in the middle he is not allowed to dwell on this, and honestly his problem ends up being solved by the time loop and Akashi, who (as in the first book) has the patience of a saint. There’s also a time traveler from the future, whose identity is so obvious that even spoiling it here would feel lame, but who allows the plot to happen. And there’s Ozu being terrible, and Higuchi being annoying, and Hanuki being a free spirit, etc. This doesn’t have the grand feel of the last quarter of Tatami Galaxy, but it’s not aiming for that. And honestly, it may be the true canon. The narrator and Akashi come up with the plot for The Tatami Galaxy towards the end, and even name it. So perhaps that’s the fiction and this is the reality.

If you enjoyed the first book, or the anime, this is a must read, and go watch the anime too. Honestly, maybe Morimi should use pre-existing plots more often.