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The Princess of Convenient Plot Devices, Vol. 7

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By Mamecyoro and Mitsuya Fuji. Released in Japan as “Watashi wa Gotsugou Shugi na Kaiketsu Tantou no Oujo de aru” by B’s-LOG Bunko. Released in North America by Yen On. Translated by Sarah Moon.

Since it’s been over a year and a half since the last volume of this series, a series where I had a tendency to forget about the plot and characters already. I decided to review my old reviews to see if they jogged any memories. And they did! As with the bulk of this series, the plot involves Octavia stubbornly trying to fix her broken country and also score a man, which she is currently doing by having her bodyguard and obvious future love interest pose as her fake boyfriend. Unfortunately, every time she tries to break the story, the story keeps coming back. It turns out that I forgot all about the Tanya the Evil aspect of this series… she’s fighting with a pissed-off God! Who threw her into this world of BL tropes and wanted to watch her suffer. Job well done, God. That said, Octavia’s still got a few more tricks up her sleeve, despite more and more hot men getting mind controlled.

At last, Octavia has an official fake boyfriend. Sure, it’s Klifford, which is not at all what she planned, but it’s working out, and he seems strangely OK with it! Honestly, perhaps a little too OK with it. That said, there are other issues. Prince Yarsh is now in the castle as a royal guest and official suspicious person. Rust Byrne, who Octavia had been desperately avoiding, is not only at the castle but is now her second bodyguard (as Klifford is also her lover, he’s thought to not be objective enough). Alec has been desperately avoiding HER. Derek has also been avoiding her, and doesn’t even seem to like her anymore. And the Council of Feudal Lords is coming up. In the original game there was a drink spiked with aphrodisiac. But Octavia has already dealt with that plot, so surely it won’t happen anyway. Right?

There are quite a few good scenes here, so it’s been worth the wait. As the author notes in an afterword, several parts of the book are from POVs other than Octavia. The biggest being Edgar’s, as we finally get the full missing backstory that explains why he’s married to Enoch but seems to despise him. I like how his rage can’t really go to far as he knows this was his sister’s choice, and also how his revenge is also hampered by sympathy with what’s been going on with the king lately. We get more close examination of how utterly screwed up a world run on BL really is, and how there’s a lot more straight people in it than you’d expect. And we get a few more sexy scenes between Octavia and Klifford. The last of which may be aphrodisiac-induced, but come on, if we have to wait for Octavia to actually get a clue about her own feelings, we’ll be waiting as long as readers are going to be waiting for Book 8.

Which isn’t out in Japan yet, so here we go again. See you in 2028. Good, though, isn’t it?

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.