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The Reincarnated Prince and the Hero of Light

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By Nobiru Kusunoki and Arico. Released in Japan as “Herscherik” by M Novels. Released in North America by J-Novel Club. Translated by afm.

The last two volumes of the Herscherik books have had the subtitle refer to a new vassal that is the focus of that particular book, so you might be coming into this one wondering who the Hero of Light is going to be. But no, Herscherik has a full army of weapons in his cache now, both in terms of the men he has at his side and also his family, who are increasingly rebelling more and more against the chains of Marquis Barbosse. He has tried assassinating the royal family to depress the King into doing his bidding, he has tried introducing lethal drugs into the kingdom, and he has tried using his own daughter in a plot to kill Herscherik, one that ends in her own death instead. And yet here is Herscherik, a literal seven-year-old running rings around him. Of course, the reader knows that’s because he has the mind of a brilliant Japanese middle manager in hi, but no one ELSE knows that. So there’s only one thing left to do: send Herscherik off to die in war.

Yes, in an incredibly convenient coincidence, the country next door has decided to amass a huge invasion force at the border, so the army needs to take their much smaller force and go investigate. Barbosse suggests that Herscherik should go, despite being seven, as … well, he comes up with excuses over and over as to why no one else in the family should go, to the point where by now everyone in the room is aware he’s doing his best Snidely Whiplash imitation. But that’s fine by Hersch, who has also decided to stop pretending to be an innocent seven-year-old and act his age + his reincarnated age. As a result, they head off into an obvious trap and, well, get ambushed. Surprise! That said, Herscherik is a good two or three steps ahead of Barbosse here, and, of course, has Kuro, Orange, and Weiss, who together are the equal of at LEAST one invading army.

The book reads as if the editor said “you know those scenes you always get near the end of a book that make the reader punch the air? Could you fill the book with them?”. Every confrontation is a joy, and while sometimes the plot does verge on the ridiculous (I will give the fall from the cliff a pass because every book needs at least one hand wave) other parts are very well crafted, bringing in events from the first three books and tying them together, and also answering the very obvious question we’ve had for some time: given Barbosse can kill off the royal family with impunity, why hasn’t he done away with the youngest prince? The book is also very good about talking about the difference between doing what’s right for the nation and doing what you personally want to do, and how even Hersch finds that hard to handle at times. And, as I mentioned before, the dramatic confrontations are to die for. (Literally, sometimes.)

The series is not over, and reassuring us that we’re still only in the prologue of the Tales of the Prince (though we do meet the author of the books here, a scrub in the army trying to survive so he can send his pay back to his family), but this book definitely closes the book on the plot that’s run through the previous three. Where does it go from here? We shall see. Till then, enjoy a fantastic light novel series that makes the reincarnation isekai bits work well and also not be overused.

Yona of the Dawn, Vol. 28

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By Mizuho Kusanagi. Released in Japan as “Akatsuki no Yona” by Hakusensha, serialization ongoing in the magazine Hana to Yume. Released in North America by Viz Media. Translated by JN Productions, Adapted by Ysabet Reinhardt MacFarlane.

As many have noticed, this has gradually become a light novel review site, with the manga that I read generally being reviewed in Manga Bookshelf’s Briefs columns. There are one or two exceptions, though, the most obvious of which is Yona of the dawn, a series I keep finding new things to say about (even though I’m still one volume behind in my reviews). This volume is an excellent example of why I keep coming back to it. There’s really big goofy comedy, as Kyo-Ga is knocked unconscious due to Happy Hungry Bunch antics and essentially becomes a giant comedy prop for a while. There’s romance, as we see in the scene where Yona and Hak take comfort in being each other’s strength. There’s politics, as Keishuk has arrived at the absolute worst time, and we get more of “what is Yona’s goal”. There’s cool action sequences. And there’s intrigue, as the cliffhanger makes you wonder if Ogi is going to be selling Yona out. There’s SO MUCH GOING ON.

Yona of the Dawn sometimes has a Shakespearean feel to it, particularly with everyone being worried about where Yona is and what she’s doing. Su-Won’s position as leader is fairly secure, and yet… everyone assumes that as long as Yona is alive, she can easily lead a rebellion to take over. This is very Richard II/Henry IV stuff here. It does not help that Yona is wandering around the land with a bunch of superheroes/monsters (delete where applicable), who could and have taken out entire armies on their own when at full power. But no one knows what Yona’s real goal is. Well, the reader might have a clue. The highlight of the volume is Yona’s big speech where she talks about how everyone is expecting her to get revenge for the death of her father, and… she doesn’t have to? She doesn’t have to forgive Su-Won, and won’t, but she can simply go around doing good things? Sadly, I suspect forces will continue to stop her doing that.

We also get a glimpse of Kyo-Ga and Tae-Jun’s mother here, and I enjoyed her showing off another classic comedy stereotype, the regal woman with the fan over her face who (almost) never speaks… until she does, as her fury at how Keishuk treats her son forces her to complete entire sentences, to the surprise of her attendants. She’s a very different kind of powerful woman from Yona, and doesn’t exactly clash with her, but she does worry that Yona is not doing what the traditional woman should. Putting herself in danger every day, after all, is dangerous. But this is what Yona has chosen to do, and she’s not backing down now. (Yona in general is filled with women wielding power in very different and varied ways, and I really appreciate that. This is not to say that Yona is not vulnerable, but for the most part that’s a side of herself that she tries to show only to Hak.

As you can see, there are always new things to discover about one of the best shoujo manga currently being published in English. Always a must-read.

The Hero Is Overpowered But Overly Cautious, Vol. 6

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By Light Tuchihi and Saori Toyota. Released in Japan as “Kono Yuusha Ga Ore TUEEE Kuse Ni Shinchou Sugiru” by Kadokawa Books. Released in North America by Yen On. Translated by Matt Rutsohn.

And so the series that really should have ended after Book 2, and then had another perfectly good stopping place with Book 5, continues with a new arc. So we get the usual sense of the author taking stock and continuing with what works while throwing out what doesn’t. Somewhat vexingly, this means that the romance, such as it is, between Seiya and Ristarte is at an all-time low in this book – on both sides! Ristarte has one or two brief fantasies about Seiya here, but for the most part has simply grown used to his treatment of her, and he is (as its typical at the start of these arcs when we don’t have all the information we need) being rather rude to her. On the bright side, there’s less actual physical abuse, as we bring along a different God for that, but that does not mean that there are not moments that are literally designed to humiliate her. The book can be frustrating.

Last time I wondered if we’d have a Civil War in Heaven, and we come close, though it’s more of a one-sided battle. Yes, Mersais and their allies are back, and they’re here to destroy everything. Now Ristarte, along with Cerceus, is seemingly the only survivor and must try to salvage something from this and restore the spirit world… which means summoning Seiya again, of course. He’s got to train in the Underworld now, but that doesn’t make his training… or attitude… any less bananas. Then we find out what’s happened to the actual worlds they usually save – they’ve become dark, twisted versions of themselves. So we need to go back to the beginning, as Seiya and Rista return to Gaeabrande, the world of the first two books, which is now ruled by the Dragon Lord, as humans and demons alike forge an alliance to stop his dreadful reign of terror. Wait… isn’t the Dragon Lord a bit familiar?

As always with this series, what interests me most is Rista’s character development. The very fact that we have to being the God of Cakes… erm, Swords along with her and Seiya is a sign that she’s moved past the punching bag that she used to be, and for the most part has settled into realizing that when Seiya says he’s going to do something ludicrous, it’s usually necessary. That said, she and Seiya are still clashing. Because these are twisted, dark worlds that will theoretically be fixed and restored once they defeat the Big Bad, Seiya is seemingly of the opinion that it doesn’t really matter if they have to kill people to solve the problem, as they won’t really be dead. Rista, as she herself points out, can’t have that callous a viewpoint – seeing people suffer in front of her causes her pain and distress. I’m inclined to be on Rista’s side here, and thus am annoyed at Seiya right now. Still, he’s always had a good reason before, and this arc isn’t over, so I’m sure we’ll get another one soon.

We’re almost caught up with Japan, so I suspect these books will come out far slower soon. Still, if you’ve been enjoying the series for its goofy comedy and seeing Rista get humiliated, there’s plenty of that here, including her having to imitate a gorilla. I will cautiously read the next volume.