Anime NYC 2022, Day One

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This year’s Anime NYC had some good points and bad points right off the bat. The size of the panel rooms was an issue last year, so they made sure that the panel rooms are much larger. The downside to that is that there are far fewer panels this year. In addition, most of the really popular panels had a “lottery” system where fans bid to get a place in the audience, so there’s no way for me to, say, drop in on the Kaguya-sama anime premiere this year. I expect this will have a knock-off effect on the other panels as well, as folks unable to get into the Attack on Titan panel decide to go see Dark Horse instead, for example. The gist of all this is that I just have one panel to cover today, though it was a good one.

But first: The Exhibition Hall and Artist’s Alley were packed with folks this year. While I wish masking were better (the con is enforcing masking, but it’s simply impossible to police somewhere like the Exhibition Hall), it’s always fun walking around and seeing folks. Viz and Kodansha have major spaces, and even Yen and J-Novel Club had much larger booths than previous years. Unfortunately, when I walked by the booth devoted to Gundam, there was no Birdie Wing: Golf Girls’ Story merch. Missed opportunity there, I think. Artist’s Alley was also crowded and filled with people buying art and talking to artists, which is what you want to see.

The panel I went to today was a joint one between Denpa Books and their BL spinoff imprint, KUMA. Denpa was, of course, represented by Ed Chavez, and Andrea Donohue joined on the KUMA end. There was only one new license per se, but a lot of their titles are still awaiting release, so it was good to go through everything that we can expect in late 2022 and 2023. KUMA went first, discussing The (Pet) Detective Agency, a detective series with BL and animals; Happy of the End, which sounded like the most “typical” of their BL titles, and a new edition of Canis: Dear Mr. Rain, with new covers and added material. This will gradually replace the older version.

Those were all in the “Older Teen” category. In the “Mature” line, there’s A Home Far Away, a drama with tragic overtones about a sheltered young man going on a road trip with a transient; Crappy Happy Life, a BL comedy that I may honestly pick up, as it sounds hilarious. It’s not often you get to sell a title with flying dildos *and* the “and then they were both bottoms” meme. A Hero in the Demon’s Castle (did the hero kick Princess Syalis out?) involves a demon lord who reluctantly battles people, and the airheaded hero who wants to control his OP tendencies.

Eiji & Shirou: From Zeroes to Heroes is an anthology volume, the main story of which involves two losers in high school who decide to raise their popularity by pretending to be a BL couple. Terano-kun and Kumazaki-kun is an AO3 fic in manga form, as it has a relationship between the student council president and the class delinquent, but the delinquent is the bottom. And the one new license was a Kuma title, The Ruthless Commander & His Reincarnated Warhorse (Shouwaru Boukun Kishu to Nagasare Senba), a reincarnation BL about a guy who is reincarnated as a horse… then when he saved a warlord, is made a war horse! Unfortunately, his true form as a human is soon discovered. This ran in Shodensha’s On Blue.

Ed then discussed Denpa’s recent and future releases. This includes Nana & Kaoru, the wholesome (???) BDSM romance that illustrates why consent is both important and really hot. It’s coming out as six 600-page omnibuses. Inside Mari has just had its final volume with Vol. 9, and if (like me) you want to like Shuzo Oshimi but keep bouncing off him, this is a good one to check out. Under Ninja is a silly-looking comedy which has, frankly,, far too many ninjas. It’s also apparently getting an anime soon. Guyabano Holiday is the new title from the creator of Invitation from a Crab, and is definitely for fans of “indie comics” type manga.

Rakuda Laughs! is an action/noir manga from an artist who’s more known for their fine art, and it’s definitely another title in the Denpa line where the striking art was the reason to get it. Pleasure and Corruption, the BDSM title that is not Nana & Kaoru, also recently wrapped up with its 6th volume. There’s also an artbook coming out from the famous artist JUN, and – easily the title the audience was most excited about – March 2023 should see the first volume of March Comes in Like a Lion, the shogi drama that has won so many awards they had to create new awards just to give it to them. A short Q&A followed, and for those wondering about They Were Eleven, this is the danger of a company run by four people. Kaiji has priority, so until Kaiji 4 & 5 come out, no They Were Eleven just yet.

So a somewhat quiet first day, but at the same time I don’t think they had any major issues like last year’s line problems. Tomorrow is the busy day.

The Bride of Demise, Vol. 2

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By Keishi Ayasato and murakaruki. Released in Japan as “Shūen no Hanayome” by MF Bunko J. Released in North America by Yen On. Translated by Jordan Taylor.

Sometimes you are an author with a wonderful idea, a grand epic tale that will span 30, nay, 50 volumes, and then you get told by editorial to wrap it up in the next chapter. So goes life. Then there is the opposite problem. Sometimes you get an idea for a great, short, punchy horror story with a side of friendship and bonding, and it’s great. In fact, it’s so great the publisher asks where the next volume is. There… isn’t one? It’s complete? Nonsense, you will write more. Because it was popular. Now, I’m not sure that’s exactly what happened with Keishi Ayasato and The Bride of Demise, but it would not surprise me if that was the cast. There’s nothing wrong with this book. It’s got evocative prose, startling horror, and some cool battle scenes. It’s just it doesn’t feel like it’s actually telling us all THAT much that’s new about the world, except for one thing which isn’t much of a surprise. But, if you enjoy Ayasato, it’s still very good.

Kou Kaguro, after 15,000 deaths to get there, finally has his happy ending. He’s at the Academy in his special class with his beloved White Princess. He even gets a big surprise when Millennium Black Princess joins the class as a “new transfer student”, something so blatantly false that the class boggles in disbelief. And they get a second teacher, Hibiya, who proves to be far more adept at actual teaching than the eccentric Kagura. Plus, it’s School Festival time! Admittedly, as part of the secret class, it’s harder to walk around the festival, but that’s why masks were invented. They’re even doing a haunted house, and trust me when I say it will be scary. Everything’s coming up roses for Kou… at least till he gets stabbed to death. And then stabbed again. And again. By his closest friends.

Kou can be a relatively passive protagonist, something he is called out for here by Kagura and Hibiya, who both tell him that he uses his time powers like a magical do-over, and that eventually that will get him into trouble. But he’s still trying to be a good guy… a “hero of justice”, as it’s explicitly stated here, and towards the end of the book he finally gets a handle on this, realizing that sometimes justice makes you need to do terrible things to people that don’t really deserve the=m. We also get some new insight into the kihei, which should be too surprising if you’re read enough conspiracy novels, but also lends a nice air of “uh oh” to the series going forward. And there’s even a smidgen of romance, though for the most part it’s either of the “let’s hold hands” variety (Kou and his princesses) or an ominous setup for the third book (Asagiri).

So yeah, this was good, and I enjoyed it. But I don’t think the book was all that necessary. Possibly the publishers agreed – the next book is the final one in the series, I believe.

Torture Princess: Fremd Torturchen, Vol. 9

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By Keishi Ayasato and Saki Ukai. Released in Japan as “Isekai Goumon Hime” by MF Bunko J. Released in North America Yen On. Translated by Nathaniel Hiroshi Thrasher.

It might come as a surprise, particularly if you read the early books, but the main character in the Torture Princess novels is, in fact, the Torture Princess. Kaito is definitely the co-protagonist at the start, but as the volumes go on it becomes clear that he’s more an ideal, a symbol of hope, rather than the one whose character development we see as the books go on. That’s Elisabeth’s role, and in this final book we see her mask cracking more than any other, as she tries to keep up the “you want to die, fine, whatever” attitude even as she cries blood trying to stop everyone from dying. If you have read every volume of Torture Princess, Elisabeth is probably the main reason. (Yes, OK, Izabella and Jeanne are probably the main reason, I’ll get there.) The plot of this book is not really “will Elisabeth win?” or “will Alice win?”, it’s “how dark can the author make this and still have us care about the outcome?”. The answer is, unsurprisingly, pretty dark.

The big confrontation with Alice is happening, and unfortunately each person being brutally slaughtered leads to more power for Alice. Fortunately, a savior arrives (no, not him – not yet) to essentially remove Alice from the plot for the first half of the book, so that Elisabeth can deal with the fallout of everything else. There’s the Sand Queen, who may be dead but that’s not stopping them. There’s the battle between humans, mixed race and beastmen. And there’s the fact that even now she really wants to see Kaito one last time. Sadly, in the second half of the book Alice returns, and gets down to the mass extinction event that she’s now wedded to. Is there anything that can be stopped? And can the book actually manage to not kill everyone off?

Spoilers: not everyone dies. That said, a lot of people do die. I mentioned Izabella and Jeanne, and I must admit that Izabella has had “I am going to die tragically” written across her forehead from the moment we met her. Indeed, the arc of her character is how she keeps NOT dying. That and her love for Jeanne, which comes dangerously close to stealing the show here. I love Elisabeth, and she’s great here, but the best MOMENT in the final volume is the impromptu marriage ceremony that Izabella and Jeanne perform. It will make you smile and cry at the same time. I also appreciated how Alice’s story ended. There was literally nothing anyone in this world could do for her anymore, so she simply got dumped back in modern Japan. It’s cruel, yes, in a “not our problem” sort of way, but cruelty is old hat in Torture Princess. As for the very end, it’s possible to read it as metaphorical. It might seem a bit too pat if you read it literally. Either way, though, I’m fine with it.

In the end, though, it may be the grand guignol, over the top prose that was the main reason everyone ate this series up. Kudos to Nathaniel Hiroshi Thrasher for translating it. This was a good series, which I doubt is getting an anime anytime soon. A bit too much torture for that medium.