By Sunsunsun and Momoco. Released in Japan as “Tokidoki Bosotto Russia-go de Dereru Tonari no Alya-san” by Kadokawa Sneaker Bunko. Released in North America by Yen On. Translated by Matthew Rutsohn.

There was only so long that the main mystery of this series that doesn’t involve “who will the winning girl be” got cleared up. (And honestly, “who will the winning girl be” is not much of a mystery, either – this isn’t the sort of series that’s going for a last-minute swerve.) So yes, Masachika admits to Alya what the relationship between him and Yuki really is, and then goes to visit her. That said, the series still wants to be a romcom, even in what amounts to the most serious volume to date, and so it also flashes to Alya’s POV during these scenes, which amounts to “OMG we’re holding hands no stop I’m comforting him, shut up brain” over and over again. Alya may be a romantic wreck, but thanks to the boy she not-so-secretly loves she’s found a way forward in life. In this book, Masachika also finds a way forward in life, but sadly he manages to botch that in a really bad way.

Yes, that’s Yuki on the cover, only the 2nd person to feature on a cover that isn’t Alya. She’s looking surprisingly serious as well, which fits the tone of this serious volume. After arriving at his sister’s house, and seeing how far Yuki has relapsed, Masachika decides that it’s time he stop running away from everything and has a long chat with his mother about why she started to reject him. Unsurprisingly, the answer turns out to be that they have a lot more in common than they possibly imagined. He then comes to a decision – he’s going to return to the family and become its head, which means Yuki doesn’t have to. He talks with his father about this, who is as easygoing and hands-off as always. He talks to his grandfather about this, who is grumpy but will let him try. He does NOT talk to Yuki about this. That’s where he botches things.

Of course, not all the upcoming chaos is going to be caused by Masachika. Nonoa still exists, of course. I’ve talked before about how much I appreciate her role in this, and I still do. I really liked her showing up late to “comfort” Masachika, and being genuinely a bit annoyed at Alya for getting there first. Which leads to what she does best, making Alya doubt Masachika. She frames things she found out by coincidence – which she freely admits – as if Alya ended up being the last to find out, and this plants seeds that I’m sure will extend this series into at least three to four more books. She’s also seemingly working on Ayano, and I have a sneaking suspicion that will be Nonoa’s downfall. Don’t try to outplot the woman who freely tells Masachika he makes her womb tremble.

I also did not mention Yuki’s complete meltdown when she hears what happened, or her heart-to-heart with Alya, where we realizing just how much all the incest subtext we love (OK, everyone but me loves) is an act – ALL of it. Basically, the next volume promises to be filled with a lot of repressed rage and tension…..short story volume? (checks) Oooh, differently numbered short story volume! So may be 10, may be BTS, which I assume stands for Behind The Scenes rather than a crossover with the KPop band.

By Sunsunsun and Momoco. Released in Japan as “Tokidoki Bosotto Russia-go de Dereru Tonari no Alya-san” by Kadokawa Sneaker Bunko. Released in North America by Yen On. Translated by Matthew Rutsohn.

I’ve talked many times before about the stark contrast between the backstory of Masachika and Yuki and their family drama, the romantic plots with Alya and Maria both being in love with Masachika, and the wacky comedy shenanigans. The drama gets more attention this volume, and the shenanigans are confined to the middle of the book for the most part, and almost feel perfunctory. They read like the author watched a random anime and used that plot as the antics of the book. When I say “there’s a party with chocolates that have a small bit of alcohol in them”, the average fan could write the rest of that scene in their head and be 100% accurate except that it’s only one girl who gets drunk, not all of them. And there’s also an invented game that involves penalties, but since we already had the sexy antics earlier, these punishments are more just silly. The drama, though, is the main reason to get this.

The festival is over, but the aftermath of its events are still reverberating. Masachika’s mother was ill after his performance and had to go to the nurse’s office… and what’s more, Masachika found his father comforting her! Oh, and she’s also now sleepwalking. Masachika himself is filled with all-new self-loathing about his piano playing, which briefly impacts his ability to play until he gets some good advice which is basically “stop overthinking everything you do”. Oh, if only that advice would stick. As for Alya, well, she’s admitted that she’s in love with Masachika, at least to herself, and is briefly really, really happy. Can’t have that, of course. Enter Nonoa, who levels up here from minor supporting character to possibly the main antagonist of the entire series.

The big news here comes right at the cliffhanger for the book – Masachika is finally going to admit the truth about him and Yuki to Alya. This is good, because after overhearing him saying that Yuki will always be the most important person in his life, Alya has spent most of the volume dealing with agonizing unrequited love issues. These two are, frankly, very similar, which is why they’re such a good couple – or at least they will be, eventually, when the series is allowed to end. As for Yuki, she gets less to do here, but is also part of the cliffhanger. I’m not sure if her relapse will last longer than the next book, but it’s a reminder that she’s just as tied into the dark backstory as her brother, and is not simply about being a tease and making incest jokes. There is also a lot of Maria, of course, but even though she’s clearly deeply in love with Masachika, all her plots here are comedic. We know what that means.

And then there’s Nonoa, but let’s save her for another time. Till then, I enjoy wading through the most predictable comedy ever to get to the good bits.

By Sunsunsun and Momoco. Released in Japan as “Tokidoki Bosotto Russia-go de Dereru Tonari no Alya-san” by Kadokawa Sneaker Bunko. Released in North America by Yen On. Translated by Matthew Rutsohn.

I think I’ve mentioned before about how, when I saw that this series was licensed, I called it “The Angel Next Door Spoils Me Russian”. As it turns out, after seven volumes, the two series are not all that comparable except in the shallowest way. Alisa and Masachika could only wish their life was as easy as the couple in that series. Instead, we have a series where the tragic backstory is just not going away, and cannot be easily resolved with a trip back to the old hometown. Masachika still despises himself, Alya doesn’t know what love is and is hoping to be handed the answer in an easy to understand form, Maria suddenly realizes that the boy she fell in love with all those years ago is a young man with a libido, and for all that Yuki wants to show off she’s healthier now, if she overdoes it, not only does she feel worse, but everyone around her overreacts. There is so much drama.

If you know how anime and manga romantic comedies work, you knew this was coming. We’ve had the cultural festival, and so now it’s time for the sports festival. Which, of course, means another dramatic competition between the two student council rivals. Alya and Yuki have to participate in a cavalry battle, which might actually favor Alya provided Yuki doesn’t stack the deck and also be far more clever than her brother. But what are the chances of that happening? There’s also the problem of Masachika getting more popular after the events of the last book – in particular, his piano talent is now public, which just fills him with more despair as he feels that being good at something requires caring and working hard to achieve it. And Alya is starting to realize that there is something very, very wrong with Masachika’s family, but he won’t tell her what it is yet. However, most of this is the last quarter of the book.

If you’re familiar with this series, you know what the first 3/4 of this book is. Otaku references, in jokes, and fanservice. To be fair, they’re all handled pretty well here. I enjoyed the character of Elena, who is the classic “pervert girl who overdoes it because she’s secretly not”, and who gets along very well with Masachika because, unlike Masha or Alya, he can be himself around her. And yes, Yuki hops naked into the tub with her brother, which made me sigh. Honestly, I’d be more annoyed if I thought she was part of the romantic rivals, but I know she’s not, so it’s just a mild irritant. The best parts of the book involve Alya and Masha, who are both falling harder and harder for Masachika, and the collision when that comes out is going to be epic, and hopefully not as explosive as the collision involving Masachika and Yuki’s family.

So good stuff, even if it does feel a bit as if the author is pushing the inevitable resolution of this plot further and further away as the series gets more and more popular. Ah well. At least there are boob jokes. SO MANY boob jokes.