Chitose Is in the Ramune Bottle, Vol. 8

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By Hiromu and raemz. Released in Japan as “Chitose-kun wa Ramune Bin no Naka” by Gagaga Bunko. Released in North America by Yen On. Translated by Evie Lund.

I have found that Chiramune is one of those series that glides along for a while till the author has a sudden explosive burst of inspiration where everything gets really good for the rest of that scene, and then it goes back to normal. This can sometimes be frustrating, especially if you’re reading it for the ongoing plot, but it does make those scenes instantly memorable in your head. Which is good given how this does not exactly release every three months or so. Here we get two such scenes, one short and one long. The short is the second conversation between Yuzuki and Kureha, where we start to see exactly why Kureha is doing things in this particular reckless way. The second is the final scene in Saku’s apartment, where Yuzuki drops all pretense of reserve and straight up tries to seduce him into sleeping with her. If you know Saku, you can guess how well this goes. But as a scene, it’s dynamite. The series works best in sprints.

The culture festival is almost upon us. While the core cast work on their cheer routine, Yuzuki also has a heart-to-heart with Kureha, and realizes that she’s going to have to stop trying to be “Yuzuki Nanase” and remove her limiters. This means suddenly she’s blowing away everyone else on the basketball court… including a dispirited Haru. This means that, when the Snow White play they’re putting on turns out to be literally the author writing the love triangle between Saku, Yuuko and Yuzuki into the plot – and having Saku improvise an ending – she wows everyone with her amazing acting skills. And it means that, when she gets the opportunity to cook dinner once more for Saku at his apartment, she puts on her best underwear and pins him to the couch. Unfortunately, talking to Kureha also gave her Kureha’s desperation.

I liked Kureha better here… or at least understand her more. Everyone’s annoyed at her for upsetting the status quo, but to her it feels like she’s started a race where everyone else is on the last lap. When you literally can’t catch up, sterner measures are needed. I also really loved the conversation between Yua and Asuka, where they both reflect on their breakdowns from the last book and both admit it’s their fault rather than Kureha’s. This book has a lot less Saku narration than usual, which makes sense as the series is getting into the second half and needing to resolve things, but also as Saku is discovering that trying to figure out who he loves and trying to figure out what he wants to do in the future involve the same things… and he’s reluctant to do anything – STILL – as he knows how much pain it will cause. Hence the final scene, which manages to be very painful and also pretty erotic.

This is the first of a two-parter, and I’m not sure when Book 9 will drop, but Chiramune fans should be quite pleased, especially if they think Yuzuki is best girl. Though the book is also hinting we should enjoy that while it lasts, like Yuuko.

Sword Art Online: Progressive, Vol. 9

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By Reki Kawahara and abec. Released in Japan by Dengeki Bunko. Released in North America by Yen On. Translated by Stephen Paul.

I think I have come to the conclusion that Reki Kawahara, much like Ryohgo Narita, has too many balls in the air. The last time a Progressive volume came out here was in 2022. It is now 2026. That is bad, mostly as I can remember literally nothing about the last book other than “Kirito is a vampire now”. And I have bad news for you, 10 isn’t out in Japan, as he’s also writing the main series and Accel World, as well as supervising all those Alternative spinoffs, only some of which have been licensed over here. As such, it sure would be a shame if this volume got off to a slow start and really dragged through the first half, as I’m already a bit grumpy that it’s been so long and I have to try to tell dark elves alike that I haven’t seen in a while. Heck, even the plot regresses back to the fourth floor. That said, as with many books, the second half really picks up, and has some surprises.

Kirito and Asuna, having met up with Kizmel again, are trying to get back the keys stolen by the fallen elves. This ends up, as I noted, taking them back to the fourth floor, where they have a happy reunion with their boat, as well as with the dark elf they broke out of prison with. He wants to have a chat with the leader of the Dark Elves, and asks the three of them to get him out of the castle so they can talk. This requires Kirito using his new vampire powers (which, by the way, means this entire volume happens at night) to tame a Kelpie so they can ride it without the castle guards realizing their viscount has flown the coop. When they finally engineer the meeting, it ends up leading to a duel, but more importantly, backstory that’s actually interesting.

Not gonna lie, I worried I would have nothing to talk about when I reviewed this through the first hundred pages or so. Then Yofilis reveals his tragic backstory and my jaw dropped. Not just because it once again shows off how well coded these “AI” NPCs are (and I mean, almost everything Kawahara has ever written has involved AI becoming human in some way), or even how Kirito and Asuna picking the dark elf rather than the forest elf may have messed up the plot to the point where the frontliners are all in danger of being killed, but mostly because said tragic backstory revolves around Yofilis being gay, and how that messes with the way this game treats elves and aging. Essentially Elves age as they gain roles, such as “parent, grandparent, knight captain”, though obviously I’m simplifying. And the fallen elves specifically aren’t aging after “falling”. So we get an odd dovetailing of how a gay character might be coded in a fantasy like this one, as well as the fallout of same, which involves a literal metaphor for sinning and falling from grace. It’s… interesting.

And Kirito and Asuna are adorable and everyone except them agrees they’re a couple and should just kiss already. Rest assured, it still has that. Next time we resolve another cliffhanger, though a more happy one this time. Will it be another four years? Maybe.

The Alchemist’s Fluffy Island Getaway, Vol. 1

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By Kisetsu Morita and Matsuuni. Released in Japan as “Renkinjutsushi no Yurufuwa Ritou Kaitakuki” by GA Novel. Released in North America by Yen On. Translated by Tristan Hill.

Sometimes I pick a book to read based on vibe, and only afterwards do I realize the actual creative team behind it. This is definitely one of those books. I got it as I like the mini-genre of “alchemist in a remote land a la the Atelier series”, and it felt cute. And then I finished it, and it turns out it’s freaking Morita AGAIN, with I believe his fourth LN series licensed over here, not counting spinoffs. And then I realized how an awful lot of this felt familiar if you’ve read Killing Slimes for 300 Years, especially the main character picking up two fighting monster girls who bond with her. That said, Killing Slimes for 300 Years is a very static series, with little to no growth or change. This one seems to know it can’t be that. Because when we meet Freya, well, she’s kind of horrible, and getting exiled to the middle of nowhere to learn to be a better person is what she richly needs.

Freya Corvidge is an orphan girl who ends up at a premier academy for alchemists, and ends up with the highest grades of her year. We don’t see any of that. We start with her graduation speech, where she talks about finding a cushy job where she can be lazy. And when other graduates accidentally summon a massive wolf monster, she steals supplies without asking to paralyze it and make it invisible so it’s not killed. All this means that, far from a cushy job in the capital, she’s being treated like the bottom of the class, and sent to a remote island where she should reflect on her actions. When she gets there, while the locals are very friendly, her alchemist shop is so overgrown it will take her weeks to uncover it. Then she meets the island’s god… who seems very familiar.

Freya is a hoot, frankly. Her obnoxious tendencies are to a certain degree a front for the fact that she’s a nerd who had no friends and was bullied a bit at school. Unlike Killing Slimes, her character journey over the course of the book, where she grows to like island life and discovers the joy (and embarrassment) of doing good things that others praise her for, is the point, and it’s handled well. I also liked Lilil, the wolf god who ends up becoming her apprentice and tsukkomi, there to bring Freya back to reality when need be. Given the author, it’s not surprising that there’s a bit of yuri in this title, though thankfully it’s not punctuated with reassurances that everyone is straight like their other series. There’s also a lot of “this is how we do alchemy” stuff, which is the norm in these sorts of titles, and unlike, say, Management of a Novice Alchemist, Freya is talented but also inexperienced and is not going to be OP right off the bat.

So yeah, this is a lot of fun, and I will cut the author a bit of slack and cheerfully read the second in the series, which will no doubt add another cute girl somewhere.