Earl and Fairy: Beware the Enticing Trap

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By Mizue Tani and Asako Takaboshi. Released in Japan as “Hakushaku to Yōsei” by Shueisha Cobalt Bunko. Released in North America by J-Novel Heart. Translated by Alexandra Owen-Burns.

I was very excited when Earl and Fairy debuted from J-Novel Heart, but I will admit that I underestimated the backlash that the series got from some areas of the community. This is an old-school shoujo series, and it stars an old-school shoujo love interest. If you don’t know what that means, look up “Black Bird” or “Hot Gimmick”. Though Earl and Fairy does not go nearly as far as those two series, it is definitely in the school of romance that is “he starts off as the worst, but gradually gets better due to the influence of our heroine”. And given this is a long-running series, it’s going to be very gradual. Edgar is not going to suddenly soften up and tell Lydia his deepest secrets. Moreover, given that he thinks Lydia would be perfectly happy to walk off and never see him again, don’t expect him to stop giving affectionate overtures that may be unwelcome. That’s how these series roll. Tender romance will be along in a bit.

Lydia has been hired by Edgar as his Fairy Doctor, meaning that she’s now living in London. Of course, this being a supernatural mystery series as well as a romance, trouble is following her around. Or, more accurately, following her employer around. A young woman has disappeared, and was last seen in a carriage with none other than Edgar. There’s a bogey-beast in the vicinity, and it’s not clear who its master is. Rosalie, cousin to the missing girl, is very much attracted to Edgar, and thus very annoyed that he only seems to have eyes for Lydia. The fog, always terrible in London of vaguely Victorian times, is even worse because of the threat of the Fogman. And possibly worst of all, Lydia is finding herself wanting to get closer to Edgar, and she has absolutely no idea why.

Lydia, I will admit, does suffer from some of the worst traits of a shoujo heroine. When she blithely walks into an abandoned warehouse with a girl that she already knows is antagonistic towards her, you will want to smack your forehead. She’s no shrinking violet, but sometimes that gets her into trouble as well – her desire to take quick and decisive action is what gets her soul trapped near the climax of the book. As for her relationship with Edgar, she’s not close enough for him to open his heart to, but that also means that she’ll never take any affectionate overtures he makes seriously. Nico, Lydia’s walking, talking, sarcastic cat (just throwing that out there for those who are still on the fence about this series) tells Edgar if he wants to win Lydia over he needs to stop lying to her. Unfortunately, Edgar has been hurt so much by so many people – and had nearly everyone who trusted him die – that this may not even be possible.

To sum up” great shoujo potboiler. Lydia is naive but awesome. Have patience with Edgar. Give Nico some tea and fish.

Loner Life in Another World, Vol. 6

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By Shoji Goji and Saku Enomaru. Released in Japan as “Hitoribocchi no Isekai Kouryaku” by Overlap Bunko. Released in North America by Airship. Translated by Eric Margolis. Adapted by Lorin Christie.

It occurred to me as I was reading this volume, this lacks one of the main parts of “summoned to another world” books, which is the summoning. I was thrown off by the god at the start of the series, who actually does summon the class to a different world, presumably to save it, but the world itself is not involved with the summoning, and (while we see some small evidence that past heroes may have also been summoned), there’s no sense that anyone is used to new people suddenly showing up all at once. As a result, try to imagine what the people in the capital city must be thinking when they see Haruka and twenty gorgeous young women, all with black hair and black eyes, show up and save the day almost instantaneously. Seriously, this 413-page book only takes up one week of real time in the book. They’re all absolute monsters. It is, frankly, amazing that more people just give in and go along with it… though given their situation, maybe it’s not so surprising.

Despite various attempts to try to negotiate, war is becoming inevitable. The king’s brother is there to try to work out a compromise: the first prince has said he will spare the frontier if they give up Haruka. Literally everyone except the king’s brother knows this is a trap, but Haruka goes along with it anyway, because it’s just easier to trigger the trap and then massacre everyone. Yeah, there’s a lot of death in this book, this isn’t the manga. Having fixed that problem (and killed one prince), everyone then arrives at the capital, where the king is dying, the second prince is allied with evil merchants, and there’s an orphanage filled with kids who would make Oliver Twist look like a plump spoiled brat. This lights a righteous fire under all the main cast, who proceed to turn into villains in order to save the civilians who are being ground down by the real enemy… capitalism.

These books are starting to struggle a bit with the “wacky” side of things. Don’t get me wrong, Haruka is still damn near incomprehensible and incredibly annoying. And there are still an incredibly large number of pages devoted to Haruka making underwear for all his female classmates, which involves using his “magic hands” to grope them into unconsciousness (with their consent – the underwear is JUST THAT GOOD). But there’s no sugarcoating how awful everything is this arc. The majority of the nobility are cartoon villains, the merchants are greedy scum, and while we haven’t met the church yet (next book), they’re implied to be worse than all of the others. The orphanage is played for maximum mawkishness, except when you see things like the girls all finding the nobles most responsible for it and using status effects like “Pure Pain” on them. And even saving the capital doesn’t fix things, as in the meantime the church’s forces have gone to destroy Omui.

The series, for once, ends with a genuine cliffhanger, as we wonder if Haruka vs. 30,000 troops will finally be what gets him killed. The girls all worry this as well, which is why they’re racing there as well. As always, once you dig past the nonsense, Maria-sama Ga Miteru and Mary Poppins references, and endless descriptions of tits, there’s a whole lot to sink your teeth into. And not in the mean girls way.

Yuri Tama: From Third Wheel to Trifecta, Vol. 3

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By Toshizou and Kuro Shina. Released in Japan as “Yuri no Ma ni Hasamareta Watashi ga, Ikioi de Futamata Shite Shimatta” by Overlap Bunko. Released in North America by J-Novel Club. Translated by Tristan K. Hill.

Either this book is wearing me down or I have an undiagnosed concussion injury, because I did not find this third volume of Yuri Tama nearly as annoying as I did the previous two. There are a couple good reasons for that, of course. The godawful incest plotline that plagued the second book seems to have been quietly shelved, and Yotsuba’s sisters, while still overly affectionate, have dialed themselves back. Yotsuba’s self-loathing is still very, very prevalent in everything she says, but at least her girlfriends are now telling her to stop doing that, so we’re getting there. Koganezaki continues to represent the reader’s frustrations, and is awesome. And, of course, there’s a ridiculous new love interest, but frankly, it’s handled about as well as can be expected, given that the premise of this series is Yotsuba doing something amazingly foolish and every other woman in the cast thinking “God, I can’t not fuck her”.

Yotsuba has only just managed to recover from the events of the second book and is trying to quietly enjoy the rest of her summer break, but then her sisters bring stunning news: the idol Maki Amagi is taking a leave of absence from show business. Her sisters are devastated, Yotsuba is nonplussed. Who? Then suddenly a new girl moves into the house next door. No prizes for guessing who it is. It turns out that Maki Amagi is really Makina Oda, who was childhood best friends with Yotsuba before she had to move away. As Yotsuba tries to process this, Makina asks a favor: the paparazzi think she’s dating a guy, so to throw them off the trail, can she pretend to be dating Yotsuba? Yotsuba is immediately taken in by this story that does not sound remotely fake, but how will her actual girlfriends react?

I’ve mentioned this before, but given it’s one of the most notable things about her, I’ll mention it again. When Yotsuba turns off her self-doubt and constant second guessing brain and just goes with the flow, she manages to be a fantastic romantic partner. On her date to the aquarium with Makina, we see this in action, and we also see what’s obvious to everyone but Yotsuba: the “paparazzi” thing was just an excuse, she’s been in love with Yotsuba since she was five years old. The series revels in its cliches (we get the good old “childhood marriage promise” here), but honestly things are handled about as well as I could have expected them to be. Yotsuba has a heart to heart with Rinka and Yuna (followed by offscreen sex with Rinka and Yuna – Yotsuba worries she’ll be terrible in bed, but honestly, given her personality and general vibe when moving on instinct, I think she’ll be a natural) and is still in love with them, but Makina is very much still in the picture.

There’s no fourth book yet, but the author is hopeful, and says it will focus on Koganezaki (who might get to be part of the only yuri pairing in the book that doesn’t involve Yotsuba). Till then, this is very silly but fun, especially if you ignore Yotsuba’s parade of insecurities in her narration.