Soup Forest: The Story of the Woman Who Speaks with Animals and the Former Mercenary, Vol. 2

By Syuu and Muni. Released in Japan as “Soup no Mori: Doubutsu to Kaiwa Suru Olivia to Moto Youhei Arthur no Monogatari” by PASH! Books. Released in North America by Cross Infinite World. Translated by Jordan Taylor.

It’s always annoying when I read an afterword and the author essentially says everything I’m going to say. So yes, the first book in this series was about taking a broken young woman and helping her to open up to one man, leading to their marriage. This second book has as its goal getting her to interact with a much larger world, and also realizing that, while her powers may make some people scared and/or dismissive or her, this isn’t always the case, and that her powers can do good things. To be honest, she ends up saving a lot of lives here. Clearly she probably SHOULD be a royal apothecary, as she has the skills, and also can talk to the animals like Doctor Doolittle. There is just one slight problem – Olivia doesn’t want to do this. She wants to live in the forest with her husband, sister (more on that later) and many, many animals and hand out soup. Sorry, kid, you’re a light novel protagonist.

This book alternates between slice-of-life stories of Olivia puttering around her restaurant with Arthur, doing things like making health potions or healing a wounded rabbit, and the larger overall plot of Olivia’s world becoming much larger. This is mostly due to the arrival of Lara, a runaway teenager who was the daughter of a noble father and his maid, and now that the father and her mother have died the stepmother has made her life miserable. She ends up becoming the younger sister that Olivia never had, and is basically part of the story to add sometime bright and upbeat to a series that is still mostly about two sweet yet default morose individuals. She’s also studying to be an apothecary, something that Olivia is already qualified for… and she even gets a letter saying she is the equivalent of a royal apothecary. Which is good, as this is a dangerous world.

As I said above, if Book 1 is “Olivia gradually learns to care about things other than the animal world”, this one definitely shows the interactions between the animal world and the human world, and Olivia and her powers are a huge part of that. Olivia ends up getting more than one “What’s that, girl? Timmy? Trapped? Down in Dead Rock Canyon?” moment here, though the animals can literally speak to her, so it just makes things easier. Which is good, as this book is filled with deadly plagues, near-fatal road accidents, and driven insane with grief drunkards, and Olivia comes to the rescue each time. The last one is particularly hilarious, as we meet a steward who clearly despises Olivia, and think to ourselves, “Oh man, I hope he’s secretly evil”. And good news! This was the one plot that didn’t quite work for me, as it felt the most manufactured and had the most bullshit use of Olivia’s powers. But I’m not really going to criticize such a relaxed series like this for going too OP.

The webnovel of this series indicates there’s a third book, but it’s not out from the publisher yet. I wonder if it will continue trying to drag Olivia into larger and larger political spheres and away from her insular life. I can see an argument either way.

Third Loop: The Nameless Princess and the Cruel Emperor, Vol. 3

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.

In the first book, we dealt with a girl who is so mistreated that she’s not even given a name. In the second book, Angelina has a name, but everyone still only regards her in terms of her position and power, rather than as a person. That continues in this third book, but it’s OK, because we have someone who’s been with her almost from the start who sees her as a person. The title is now truly incorrect. That goes both ways as well, as the plot complications mean that the emperor is forced to confront his past and accept that he really did earn his “cruel” title, while also admitting that he doesn’t really want to sacrifice it all because he was a bit of a dick, but rather wants to live with his family and do better. Both Angelina, though her loops, and Feilong, through what happens in this book, become better people. Well, Angelina doesn’t have far to go.

Angelina is riding a high. Everyone adores her, she has her best bud Ryuho, and also joining them at the academy is other best bud Hisame. Then a traveling player band of refugees from the destroyed country Yule (home of Angelina’s late mother) arrive, and they show off their shadow puppetry. Unfortunately, when their leader has Angelina try out the magical barrel organ they use to control the puppetry, it activates a horrible magic… which the Emperor blocks and takes himself. This causes the emperor to become a small child… in both mind and body! Worse still, the leader of the troupe was the only one who really had bad intentions, and he turned out to be a fake. Now the three youngsters have to try to find a way to restore Angelina’s father…which involves searching for a legendary beast who will only speak to the pure of heart. Good thing they have our main cast, who are so pure they squeak.

Angelina always works best when she’s in deadly peril. The start of the book reads a bit smug, as everyone loves her, she loves everyone, and things are all sunshine and roses. Thank goodness that doesn’t last. There’s the trauma of her past lives still weight in on her unconsciously, as she knows she still hasn’t actually said “I love you” to her father yet. There’s her father’s own actions, as she argues with an all-powerful spirit about how sometimes purging an evil family by killing them may not actually be worse than BEING an evil family. My favorite part is where it turns out that the one who’s been controlling everything in this book turns out to be a bit of a scapegoat himself, and when given the choice between “let your father die” and “let me die”, Angelina naturally chooses neither one of those. Which, well, leads to more folks being utterly devoted to her. By the end of the book she’s Queen of her mother’s now restored country, and has Ryuho proposing to her. But the most important part may be that she finally gets to go back to the pub she spend her past life in and eat its really great food once more.

This was, provided you can get over the aggressive, weaponized adorableness of its heroine, a decent, solid series. I’m glad Angelina has a name, a tiger boy fiancee, and most of all, no more timeloops. 3 more and she’d hit her 7th time loop, and that’s been done.

The Theater of Haruhi Suzumiya

By Nagaru Tanigawa and Noizi Ito. Released in Japan as “Suzumiya Haruhi no Gekijo” by Dengeki Bunko. Released in North America by Yen On. Translated by Andrew Cunningham.

I suspect how much you enjoy the latest book in this series depends on what you enjoy most about it. If you’re the sort who likes the sci-fi trappings and everyone trying to figure out what’s going on, you’ll be in clover, as that’s basically what this book is about, especially the back half, which features far more discussion of quantum mechanics than any light novel really needs. If you enjoy Haruhi doing funny things, Mikuru being adorably clumsy yet cute, and Nagato saving the day, this is also a strong book. Kyon’s narration is not quite as caustic as it’s been in the past, but I’ll forgive it. Unfortunately, if you read this series for character development, this is not the book for you. It’s an extension of two short stories that ran in The Sneaker 20 years ago, and seems to take place before the 4th book/movie, meaning most of the softening of Haruhi’s character is absent. It’s a fun book, but it’s not necessary as the next in the series.

We open with what looks like the most 2024 thing ever, even though it was written in 2004 – Haruhi and company get isekai’d to another world to save the kingdom from the demon lord. Haruhi being Haruhi, she proceeds to do whatever she wants, and only saves the world because Mikuru blows up the demon lord’s castle with magic. Suddenly they’re now in an outer space setting, and have to rescue two nobles from space pirates… something that’s also screwed up due to Haruhi’s gung-ho approach. Then all of a sudden they’re in a Western setting, with a shootout, and Kyon, Koizumi and Nagato are starting to realize something is wrong. Unfortunately, they can’t trust their memories, and as they go through more and more pulp fiction scenarios, the question becomes whether they can stop it at all… or even who they really are.

The idea that the cast are trapped in a bunch of tropey fictional settings is a good one. As you’d expect, the weakest part of it is the start, with the two stories written so long ago. They’re pure comedy, not really doing anything with the characters. Once Kyon and Koizumi start discussing what’s really going on, things pick up a lot more… or at least they do if you can put up with Koizumi’s philosophizing. There may be more of that in this book than any other in the series, so reader beware if you’re not in the mood for it. The one scrap of characterization we got was near the end, when Koizumi suggests that they’re likely just virtual reality mindselves, and that escaping the game might mean death. Nagato explicitly says that she wants to return to the real world, to be in the club with everyone. It’s pretty nice.

If you wanted another volume in the series, this sure is one. Still no actual continuation, but I’m not really expecting that anymore. For fans.