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Reborn as a Vending Machine, I Now Wander the Dungeon, Vol. 3

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By Hirukuma and Ituwa Kato. Released in Japan as “Jidou Hanbaiki ni Umare Kawatta Ore wa Meikyuu wo Samayou” by Kadokawa Shoten. Released in North America by Yen On. Translated by Andrew Prowse.

This third volume of Reborn as a Vending Machine tries to expand the world that we’re in and give our hero a bit more insight into goals for the future. As we’ve seen, a lot of his “what should I do next” thoughts involve collecting points to level up, get new products, etc. Here, after a very amusing eating contest, Shui from the mercenary group wins the right to have Boxxo for the entire day, and takes him to the first floor of the dungeon, home to (try to contain your surprise) a group of poor yet plucky orphan children. The dungeon, it turns out, needs to have someone reach a certain level in order to get to the second floor. So for the unwanted kids, or whose whose parents have died, they have this. It reminds Boxxo to, if you’ll pardon me, think outside the box and realize this is a real life world he’s now in, not just a game RPG.

There’s also his relationship with Lammis, which continues to be chaste (he’s a vending machine) but still have that “I am a harem manga protagonist” feel to it. Lammis is clearly deeply in love with Boxxo, and as such will try to overcome her limits in order to stay by his side (she’s terrified of the supernatural, and the last half of the book involves nothing but that) and also gets easily embarrassed around him (she tries to hide her heavy period, which doesn’t work but does allow Boxxo to show off that he can also dispense sanitary pads). As for Boxxo, his emotions are still a bit flat, but it’s pretty clear he likes Lammis quite a bit. I’m not entirely sure where the series’ endgame is here, but am content with it simply being cute and chaste – it really does get pretty adorable.

Less adorable is the climax to the third book, where our heroes defeat a skeleton lord and then discover the demon behind the skeleton lord, who is vastly more powerful. For a moment I wondered if the book was actually going to kill off a few regulars – the villain actually stops Hulemy and Shui’s hearts, and you briefly think the book might be going in a dark direction. But no, it’s just an excuse for Boxxo to recall that AED stations can also be part of a vending machine, and that he can use that to save their lives. Also, he has telekinesis now, though we don’t get too much of a sense of how he’ll use that. Honestly, you don’t want this series getting too dark – it’s about a guy reincarnated as a vending machine – so I’m fine with his breaking out vaguely deus ex vending machina powers so that everyone is fine again.

While the series has a number of volumes after this in its webnovel version, Kadokawa hasn’t published a new volume in about two years, so this may be all the vending machine we see. (The author has been writing KonoSuba side story volumes, which may explain it.) Which is a shame, as despite its truly ridiculous premise I found myself drawn into each book, trying to see what would be happening next. I’ll miss you, Boxxo.

I Saved Too Many Girls and Caused the Apocalypse, Vol. 11

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By Namekojirushi and Nao Watanuki. Released in Japan as “Ore ga Heroine o Tasukesugite Sekai ga Little Mokushiroku!?” by Hobby Japan. Released in North America digitally by J-Novel Club. Translated by Mana Z.

By the end of this volume, we have five left to go before the series ends. It’s started to make me wonder what the endgame is actually going to be. Oh, I’m still convinced it will end with him not choosing anyone. But it has to be said, if he is going to choose one of the girls, it has to be someone the reader has a strong attachment to as well. And, well, First Girl Wins is not just a trope for nothing. Satsuki has an advantage that the other girls do not. She’s a childhood friend, she has magical wikipedia powers and is therefore involved in Rekka’s life rather than being kept in the dark. And she gets a big focus in this volume as well, as she and Rekka are accidentally sent to a deserted island for a while, where they can wax nostalgic, almost get eaten by a leopard, and come close (but not close enough) to a confession.

Satsuki is not on the cover, of course. The interesting thing, though, is that both girls on the cover, while heroines that Rekka “solves”, are not romantic heroines that we can see. Yulia is a nun who, like many Japanese nuns in fiction, is also an exorcist and a bit of a fanatic. Given she’s ended up in Rekka’s hometown, which is teeming with otherworldly inhabitants, particularly the vampire Rosalind, you can see why Yulia is flipping out a bit. In fact, dialing back her fanaticism is the point – she’s mistaking the Church’s vendetta for her own, and Rekka has an actual Angel to tell her “no, God says the Church is wrong”. (A very common thing in light novels lately.) As for Poppy the fairy, “staying hidden” and avoiding a group of kids trying to capture her is the sole goal she has. Compared to prior volumes, the stakes are very low key here.

Back to Satsuki, a surprise in this volume was that we not only see her parents, but get art showing what they look like. (In fact, the author wondered if there were enough interesting scenes for the artist, which may be why we see her parents as well as the kids harassing the fairy.) The other plot-heavy part of the book involves L, who has been abandoned by her villain friends and is on her own in the past, and essentially homeless till she gets picked up and adopted, for the moment, by Satsuki’s family. She’s still trying to kill Rekka technically, but it is interesting that whereas R is going for “hammer Rekka with as many heroines as possible to create a crisis point”, L is more “I am in one heroine’s corner”. And that heroine is Satsuki.

Will she win? Likely we won’t know till Book 16. Will R ever be seen? And of course the one question that absolutely has to wait for the last book: will Rekka get a clue that everyone is in love with him and do something about it other than change the subject? We do apparently get a girl in a top hat, though, so that’s nice. If you’ve been reading this, keep reading it. It’s fun froth.

Silver Spoon, Vol. 6

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By Hiromu Arakawa. Released in Japan as “Gin no Saji” by Shogakukan, serialization ongoing in the magazine Weekly Shonen Sunday. Released in North America by Yen Press. Translated by Amanda Haley.

It’s going to be very hard to discuss this volume without talking about the final chapter that overshadows the rest of it, but I will do my best to save that for later. In the meantime, there is still festival prep, and horse races! The racing is a highlight of the book, mostly as, despite getting distracted by family, studies, and Mikage, Hachiken is finally learning how to ride. This is despite the fact that he almost falls off Chestnut 3/4 of the way through, creating a dramatic moment when everyone panics he’s going to fall and get trampled. But he survives, and ends up in fourth place! Which is interesting, because it’s really good for a newbie, but it still irritates him. He wants more. He’s getting competitive spirit. This is especially good news given that he’s fallen for Mikage, who gets third in her own race and actually agrees to go on a date with him during the festival (though she may not have realized that’s what it was).

It would be remiss of me not to mention Ayame, who is introduced in this volume and is FABULOUS, in all senses of the word. Trying her hardest to have wandered in from a Rose of Versailles manga, and consumed with an intense rivalry with Mikage (who merely sees her as a good childhood friend), Ayame is pure hilarity the moment she steps onto the page. She’s basically the “ohohohohohoho” laugh given human form. She rides slowly and perfectly through her race, not understanding or even really caring that she’d doing it wrong. And when Hachiken manages to get fourth in a race (and thus finish ahead of her), Ayame admits that she’s rivals with him as well. For all that I praise Silver Spoon for its depiction of agriculture and compelling characters, there’s also no doubt that Arakawa can make things incredibly funny.

…and then Hachiken collapses and is taken to hospital, right before the festival begins. Frankly, the astute reader should have guessed this was going to happen. He hasn’t been brought up on a farm, and he got goaded into taking charge of eighty different things. He was ridiculously exhausted, and now he’s paying. That doesn’t make this any less depressing, though. His look as he wakes up in the hospital is almost heartbreaking. And that cliffhanger, showing the arrival of his dad, promises that the next volume is not going to be starting with laughs either. Still, I like that we are shown the start of the festival anyway – the manga is not just Hachiken, and I’ll lay you even money that his incredibly detailed and easy to understand festival plan is going to be noticed by someone at some point (there’s even a shot of the notebook sitting there like Chekhov’s gun.)

So the festival looks to be a success, but will Hachiken get to see any of it? And will his dad demand he pull out of the school? Can his dad, in fact, find it in him to not be a complete dick this time? I cannot wait to find out, because Silver Spoon is still amazingly addicting.