As I come upon my first whole year of managing this blog (by myself, by the way), I have been battling against a lot of stress. I don’t just have this to manage, but a full-time job as well. Plus, there’s way too much media that comes out. Even when I pick and choose what I absolutely want to cover, there’s too much. I can also imagine that you get an aneurysm trying to keep up with my three posts a week.
Fortunately, there’s going to be some changes, effective today, August 4th, 2020. Posts will be back to how they were in the very beginning: every Tuesday and Saturday. As a result, there won’t be as many First Impressions of manga, not unless I’m certain my opinion will sway wildly once they’re complete. For example, I have a Jujutsu Kaisen First Impressions written already (I’m just waiting for the anime to air so I can mooch off of it). It’s a battle shounen; those are chaotic by nature and wildly inconsistent in quality at times. While I enjoyed what I read so far, that can change over the course of a single chapter.
Light novels are going to be handled differently. If you’ve read some of my light novel reviews, you’ll have seen my struggles to write something of substance in some of them. Even if I love them, a lot of them are pretty formulaic, such as Cautious Hero and Konosuba. I even did the stupid recap thing solely to extend the reviews. As such, I will now save most light novel posts for one long post at the end of a given month, where I’ll just put a small blurb for each. Exceptions will be for the first and final volumes of a given series (assuming I get far enough for the latter). For example, I plan to post a review of The Eminence in Shadow Volume 1 when that comes out. Since it’s brand new, that’ll be its own post, but all subsequent volumes will be in the monthly post, which I’ll name “Weeb Reads Monthly” or something similar. Another exception will be any series I’ve been doing arc-by-arc, which just applies to Monogatari and Sword Art Online.
So yeah, hopefully this’ll help both our sanity. Do you like the new schedule that I’m implementing? Hopefully you do, because I really didn’t like the old way at all. Anyway, I don’t want this post to just be a dumb announcement, so below is the post I was planning to have done normally…
A lot of critics complain about isekai for being the same thing over and over again. Even the new, slice-of-life variants that are the exact opposite of typical, action-driven-harem isekai are becoming common to the point of redundancy. Now it’s at the point where the subversive isekai need to subvert themselves, and a manga (not a light novel) by the name of A Witch’s Printing Office (published in English by Yen Press) is one such subversion.
In A Witch’s Printing Office, a girl named Mika Kamiya has been reincarnated into a fantasy world (as you do). The manga kindly skips all the formalities and goes well into her career at a book printing firm called Protagonist Press. But in addition to working at a printing press, she also runs Magiket: a popular magic-themed convention!
Immediately, this manga shows off its social commentaries, not on politics, but on real world conventions (and I mean event-conventions, not social protocol). The fact that the setting is called “Akivalhalla”, based on Akihabara in Japan, shows just how creative this manga is. It even opens when these Akivalhalla Knights defeat the Overnight Fiends: literal monsters that parody those who camp outside a venue before it opens.
But a slice-of-life isekai is still a slice-of-life isekai. While Mika implies that she wants to go back to the real world, she seems perfectly at home in the fantasy world. Most of the story are self-contained narratives, which are based around managing the convention and printing books. There is continuity, like when they introduce another person from our world into the story, but it usually hard cuts to something completely different after the fact.
Fortunately, all the chapters have their own unique charm to them. When they are not running the printing press or the convention, Mika has all sorts of funny adventures. From taking a holy sword just to use as a paper cutter, to getting unwittingly possessed by an evil mage, this manga has a lot of variety to it; it’s not just “Praise me for how chill and low-stakes I am” like most other slice-of-life isekai. Plus, the humor is really on point.
I tend to dislike most slice-of-life isekais’ casts, and while this manga isn’t quite an exception, I at least enjoyed A Witch’s Printing Office’s cast marginally better than most others of the genre. Mika comes off as a ditzy moe blob, but she shows a bit of a greedy side that makes her more interesting than most ditzy moe blobs. Sadly, her two friends, Clair and Kiriko, seem to just serve as two pairs of large breasts (and I really hope they’re legal adults for no particular reason related to my perverse imagination). A lot of the minor characters end up being pretty likeable, but they’re called minor characters for a reason.
The art for A Witch’s Printing Office is so good, that I’m willing to believe it was done with Clip Studio assets. There is so much life, detail, and texture to every panel, yet it’s still easy to tell what’s going on. The landscapes are absolutely beautiful, and I’d hate to see a hypothetical anime adaptation undermine the whole thing. There is a lot of charm and personality poured into it that I could spend minutes gawking at any given page.
Current Verdict: 8.95/10
Like many, many truly great franchises, A Witch’s Printing Office does not get the hype it deserves. It’s a fun and unique take on the isekai genre (that critics will probably find some way to pick apart but I digress). I recommend it to anyone who truly appreciates otaku culture at its finest.
Last time on Last Round Arthurs, Rintaro transfers to Camelot International High School, where he joins forces with Luna Artur to help her win the King Arthur Succession Battle. He immediately sees Luna’s Jack, Sir Kay, being used as an idol at the school, and it’s thanks to Luna- the student council president- that it could happen. This aggros the head of the Ethics Committee, Tsugumi Mimori, and the campus turns into an all-out battleground. After school, he meets her on the roof, where she lets him join her in the succession battle! The first thing they do is… break into their own school’s fantasy office to steal the answers to their midterms. But then, they’re attacked by the Ethics Committee, and someone casts a spell that sends them to the Netherworld. Luna summons Sir Kay, who goes off with Rintaro to find the spellcaster. They find Luna’s rival, Felicia, and Felicia’s Jack, Sir Gawain, waiting for them outside the school. Gawain beats Kay easily, but Rintaro is really confident that he can take on the knight. And guess what, Rintaro beats Gawain like it’s nothing, since Gawain is only at peak performance in the daytime (and it happened to be nighttime then). However, Felicia uses her Excalibur to create a dazzling light that freezes Rintaro and Kay in place, while giving Gawain his special boost. But then, Rintaro transforms into a mythic creature, which is apparently called a Fomorian (look it up). Rintaro is crazy powerful in this state, and thus Felicia undoes the Netherworld spell and flees with Gawain. Luna had apparently been watching the whole time, but surprisingly, she thinks the Fomorian transformation was super cool. Later, Felicia is attacked by the strongest candidate, Gloria. After selling some bread with a skimpy prize inside, Luna and Rintaro go out… on a date… and we learn of the real goal of the succession battle: whoever wins must stand against the Catastrophe, an event where reality and fantasy collide sometime in the future. But then, they stumble upon Gawain, who was fleeing from Gloria… a.k.a. Luna’s homeroom teacher, Mr. Kujo (and his Jack, Sir Lancelot)! He demands that Luna meets at the Central Park Hotel at midnight, or else Felicia’s life will be forfeit. While Gawain divulges his tragic backstory, about how his jealousy for Lancelot caused the fall of King Arthur, we learn that Rintaro is actually Merlin! Unfortunately, drama unfolds between him and Luna, and he quits being her vassal. Luna infiltrates the hotel with Kay and Gawain by her side. At the top floor, they end up in an illusory replica of Camlann Hill, where Kujo confronts them. Meanwhile, Rintaro has a talk with Nayuki, one of the girls from school, and learns that Luna sold her Excalibur as a bribe to protect her school from some corporation. Back at the hotel, when Luna is about to lose, Rintaro appears and hands over her Excalibur, which he stole from that company. He fights with Kay, Gawain, and Felicia to hold Lancelot and Kujo back while Luna charges up her Excalibur, but it gets ugly when Kujo wields his own, exponentially powerful Excalibur. But once Luna activates her Royal Road, based on trust between her and her vassal, it’s G.G. for Kujo. In the aftermath, Kujo awakens in a room with a strange robed girl (the same one who compelled Rintaro to join the battle in the first place)… who turns out to be Tsugumi, a.k.a. Morgan le Fay, the evil sorceress from King Arthur’s era. Meanwhile, Rintaro and Felicia’s teams form a truce for the time being.
This volume shows us a little more of the Dame du Lac, the organization behind the entire King Arthur Succession Battle. Since they created the Curtain of Consciousness that protects everyone from the illusory world, they kinda have authority over the whole world. But before we can ponder how likely they are to be totally-not-evil, our Motley crew is ordered to take out some Rifts in the Curtain.
We’re introduced to some new characters: Emma Michelle, another King, and her Jack, Lamorak. Emma knew Rintaro way back when, and she’s all over him. Meanwhile, Lamorak is literally Eris from Mushoku Tensei: red hair, loli, brash.
Most of this volume ends up being about Emma. Emma, Emma, Emma. The main conflict is not a bunch of deadly Rifts, but a shipping war, because EVERYONE loves those. It’s annoying, but at the same time, the antics that ensue are pretty funny.
But things ramp up in the volume’s second half. We get a ton of character development for Emma. Unfortunately, she ends up being another marketable waifu, but her character arc doesn’t quite resolve in the way that it usually does with girls like her. I can appreciate that much, at least.
Last Round Arthurs is still a great light novel, and more proof that there is a lot of good in modern light novels; they just don’t get anime adaptations. I’m very hyped for what this franchise has in store moving forward.
Her Majsety’s Swarm Volume 3
Last time on Her Majesty’s Swarm, Grevillea decides to infiltrate the Dukedom of Schtraut. With a Masquerade Swarm by their side, they head into Marine, the first city in Schtraut, disguised as refugees from Maluk. Their investigations show that Schtraut and Nyrnal don’t see eye to eye, and that adventurers are being sent to spy on Maluk. They join a guild to form connections. Eventually, Grevillea is invited to a party by Count Basil de Buffon. At the party, they have a run-in with a whiny noble, after which the Duke of Schtraut, Caeser de Sharon, appears. Serignan lures him over to Grevillea, who straight-up tells him that she was the mastermind behind the Maluk incident. They talk, and she tries to persuade him to let her Swarm through Schtraut to invade Frantz, and that she’ll defend his country during the inevitable war with both Nyrnal and Frantz that’s about to unfold. He leans toward her proposal, and even has her attend the International Council as a noble of Maluk… or rather have Maluk’s princess attend while controlled by a Parasite Swarm. The politics go as planned, and while the different countries are bickering, she’ll destroy them both. In order to stand up to the new threats, Grevillea makes some new heavy artillery. Meanwhile, Caesar forms an alliance with the Arachnea… if he wasn’t impeached by Leopold de Lorianne, the same mud-slinging S.O.B. from the party. Now, they have to fight Schtraut straight-up. They arrive in Marine, which has been completely destroyed. Out of a bizarre sense of respect, they harvest their bodies as meat for the Swarm. They destroy some peeps, but Grevillea ends up drinking poisoned well water, and wakes up back in the real world. She plays the game for a while, but ends up wanting to go back. Some girl appears, saying that the other world is a Devil’s Game, and swears to save Grevillea from it someday. She returns, and takes a while to remember everything. After that, they continue to destroy, further reducing Leopold the whiny noble to tatters. An army led by his younger brother, Roland, attacks next, but they too are quickly destroyed. Roland hates what Leopold did, so Grevillea offers to make him a Swarm to exact revenge. Meanwhile, Leopold’s last ditch effort is to get the Swarm on the bridge to his base, and blow it up with them on it. Fortunately, Roland knows how to steer a ship, and by extension, the Swarm now knows as well. With this, they are easily able to invade the city. They make their way to Leopold, but a basilisk comes out of the wine cellar! They destroy it easily, and proceed into the cellar to find him cowering in a secret room. Grevillea uses a Parasite Swarm to make him destroy himself. But then, she ends up back in her “room” again. That girl is here, and her name is Sandalphon. Another girl, named Samael, appears as well. They argue, and imply that Grevillea did something in her human life that resulted in her having to be judged in the game world? Well, whatever, she goes back and everything’s fine.
This latest volume shows that Her Majesty’s Swarm may be starting to enter a rut. Similar to the previous volumes, we are introduced to a new character whom Grevillea hits it off with, but then bites the dust. And just like the previous two times, she becomes a sociopath almost instantly. It was cool at the beginning, but when you have three red shirts pop up three times in a row in similar circumstances, it gets harder and harder to take seriously, kind of like Goblin Slayer.
But hey, at least sociopath Grevillea is the best Grevillea. With her sights set on the Popedom of Frantz, she’s just as conniving as she always is. The volume really ham-fists how corrupt Frantz is, and some of the things they show are pretty brutal. The plot thickens even more as far as the reason why Grevillea is in this world is concerned.
Currently, this is the shortest individual review I have ever written. I’m sorry, but I can’t say anything else about this volume of Her Majesty’s Swarm without spoiling stuff, and even then, it would be difficult for me to make this post more verbose. This is one of those franchises where it’s kind of the same thing over and over again. This isn’t the only case, but others at least have some variety that warrants discussion. Her Majesty’s Swarm has next to no variety as far as content is concerned. It’s going to need to answer some of the questions it asks fast, or else there’ll be some trouble.
The Invincible Shovel Volume 2
Last time on The Invincible Shovel, the legendary miner, Alan, saves a princess named Lithisia using the power of his shovel. According to her, a demon named Zeleburg is threatening to take over her country. The only way to fight him back is to recover the seven Orbs, so the two of them set off to grab them. On the way, they run into Lithisia’s incapable bodyguard, Catria. But she attacks Alan, so he puts her in a hole. He convinces her about his shovel by beating her, and a team of thirty other knights, with it… and thus, she joins his party. They arrive in an elven forest that’s been ravaged by Dark Beasts, and Alan saves an elf girl named Fioriel. She’s a descendant of an old friend of his, so he helps her, which takes only thirty seconds. He also whips up a massive fortress to protect the forest. After that, Fioriel becomes Lithisia’s friend. But they leave her alone in her castle so they can go through their first dungeon: the Ancient Castle of Riften. Thanks to some extensive info gathering and remodeling, they have an easy time reaching the Blue Orb. After the boss, Alice Veknarl, flees, Alan swipes the orb and destroys the castle after they leave. She attacks again, but Alan captures her easily. After some torture, he saves her from the demon’s curse, and she tags along. Now their next destination is the desert! They head to Desertopia, where Alan saves a space girl named Julia, who has water powers. When discussing her backstory, Alan surmises that her ritual was sabotaged. When they get to her village, Alan attacks the village elder, who turns out to be a Doppelganger working for Zeleburg! But of course, Alan takes care of it, and gains new followers in the process. They infiltrate the pyramid easily, but have to contend with the dragon. Alan defeats while nearly destroying the universe. With the Red Orb in hand, the motley crew looks toward a neighboring country where they can spread Lithisia’s cult religion…
Today’s next victim is the Ice Nation of Shilasia. It doesn’t take long for the story to immediately bury itself in its shovel memes. And guess what, it gets even deeper. In this volume, Alan digs up an international embassy, a house made out of avalanche, rewrites the law, and more.
We are also introduced to a character who- finally- is about as good as Lithisia. The latest beholder of Shovelism is the Ice Sage/Witch, Riezfeld. She’s a riot. Riez has a massive ego, but it gets buried deeper and deeper every time Alan performs one of his massive feats. Like everyone else, she just has to accept that he’s too powerful. Another new face is Lucrezia, a young noblewoman. Unfortunately, she’s not as likeable as Riez, which stinks, because it looks as if Riez is a one-off character for just her specific arc.
Other than that, it’s the same shovel antics as usual. This is exactly what I was worried about after reading the previous volume; that the series would get extremely repetitive. Plus, it gets harder and harder to suspend disbelief over the ridiculous things that Alan is capable of. It’s not stale yet, but that entirely depends on how much longer it’s going to go.
The Invincible Shovel is still a fun, mindless screwball comedy. Lithisia makes the story pop, as always, and overall it’s very funny. Let’s see how long it would take for it to overstay its welcome.
Escapist fantasy is often panned by critics and cynics as “childish crap for babies who want to avoid their real life issues.” But, you know, sometimes it’s important to just turn your brain off and stretch your neural legs in some fantasy world. The Map to Everywhere series, written by Carrie Ryan and John Parke Davis and published by Hachette Book Group, is just that; escapism at its finest.
On paper, Map to Everywhere is a pretty generic isekai. Marill Aesterwest is worrying about her sickly mother when she follows her cat to an abandoned drug store. In the parking lot is a magic body of water called the Pirate Stream, and she ends up going on a journey with a cool wizard guy and the unremarkable Fin to find the pieces of the Bintheyr Map to Everywhere. And even when they complete the it, that’s only the beginning.
If you couldn’t tell from the names I mentioned, the Map to Everywhere has a lot of clever word puns in it. It doesn’t stop at the words either; the multiverse of this series is one of the most imaginative that I’ve seen in a while. The Pirate Stream connects a whole mess of different worlds together, and they’re all very interesting setpieces, including an ice cap that’s so cold your breath will freeze into the words you say, and a sinking city that’s constantly reconstructing itself. Additionally, the Map itself is also more than just a couple of MacGuffins. The pieces of the Map actually have very meta functions, such as the compass rose finding other pieces, or the margins being able to hold impossible structures together.
The characters are also pretty darn good. I’ll get to Marill later, so let’s discuss Fin first. Fin is generic, but the authors twist the trope by making his genericness into a superpower; everyone he sees forgets about him. However, Marill doesn’t forget about him because… of love, I guess (their dynamic is my least favorite in the entire series). Supporting them is the wizard Ardent, shipwright Coll, and eventually the sassy Naysayer. But out of the bunch, my favorite character is Remy, introduced in the second book, City of Thirst. Remy is Arizona’s best babysitter, and she ends up tagging along on the Pirate Stream. She is the only other person who remembers Fin, and it’s simply because she’s a babysitter and not something as contrived as love.
The writing is pretty solid, with a lot of dynamic font style changes to represent different things. However, the multiverse of Map to Everywhere also shoots itself in the foot. While the setpieces are inventive and descriptive, sometimes they’re just too insane to describe in human language. One of the worst offenders is a place that has chunks of land literally getting sucked into a whirlpool, and the gravity fields there make Super Mario Galaxy look logical.
The multiverse of Map to Everywhere itself also has issues. Magic in modern fantasy often violates its established ruleset, and they end up expecting you to suspend disbelief because “it’s magic.” Map to Everywhere constantly tells you that the Pirate Stream behaves however it feels, and this enables the authors to kind of do whatever they want and get away with it.
But the biggest problem is freaking Marill! She’s not just generic, she’s also annoying. Her entire driving force in this series is to be able to cure her dying mother’s sickness, but her drive gets way out of hand. There are a lot of times where she argues with Fin over whether or not the needs of the many outweigh the needs of the few, and it’s as contrived as heck. It only gets more ridiculous in the final book, along with an additional Mary Sue stipulation, and ultimately solidifies how much I didn’t like her.
Final Verdict: 8.5/10
The Map to Everywhere is a flawed, but fun and corny fantasy romp that doesn’t overstay its welcome. It’s sure a heck of a lot better than stuff like Five Kingdoms! As long as you don’t require any insightful, intellectual life message to enjoy something, then there should be no harm in picking up the Map to Everywhere series.
Before I get into this post, I should remind you that J.K. Rowling’s Harry Potter is one of the most popular franchises in the world. And popular means marketable. Therefore, many other authors have tried to duplicate the series’ success. Some of these Harry Potter wannabe cases have resulted in book series such as Keeper of the Lost Cities and The Unwanteds, which are only appealing on extremely superficial levels. But sometimes, a little touch of a thing called “thought” can actually give a Harry Potter knock-off some of its own merits. Let’s see if that’s the case with Holly Black and Cassandra Clare’s Magisterium series, published by Scholastic.
In the modern world, magicians select random adolescents to test for magic potential. Anyone who tests positive is taken to Magisterium to learn to fight the Enemy of Death and his Chaos magic. Callum Hunt is taught to fear Magisterium, and is compelled to throw the examination. But he doesn’t just fail; he fails so spectacularly, that he passes with flying colors, and it’s off to Magisterium for him!
As much as he’s told to resent Magisterium, it doesn’t take long at all for that Stockholm Syndrome to set in, for the school isn’t just “Hogwarts-again”. While it’s not as defined in terms of its layout, Magisterium at least has a well defined (and simple) system. The years are labeled Iron, Copper, Bronze, Silver, and Gold, in that order, which also happens to be the order of the books, making it easy to remember.
There is also the magic system: Fire, Water, Wind, Earth, and Chaos (spoiler, the fifth one is evil magic). It’s not very inventive, but it’s at least not like Keeper of the Lost Cities‘, “Hey, let’s have five billion different types of magic at once, because Sophie needs to be POWERFUL so that all the teenage girls will be inspired to be like her or whatever.” As you can expect, Chaos magic is the dark-type magic that can corrupt souls and junk.
The final decisive advantage that Magisterium has over the rabble is… that it’s SHORT! Hallelujah, holy shit! There are only five books in the series, at approximately 250 pages apiece, much better than Keeper’s “Lord of the Rings x10” length. This means that it can focus on just plot progression (i.e. what we actually care about), and not stuff like Keeper‘s stupid Sophitz Vs. Foster-Keefe drama, or Harry Potter‘s own #SaveTheDobbies subplot. And it’s actually a good plot to boot. The writing wasn’t the best, but it was at least enough to keep me wanting more.
Unfortunately, the short length also means that things end anticlimactically. Harry Potter had an epic final battle, involving so many characters that we’d seen since the very beginning finally duke it out with Voldy’s Death Pimps. But since the Magisterium books are so short, climaxes are here and gone. It’s not like Monogatari where they talk for so long that they forget to fight in the first place. There are battles, they’re just short and unceremonious. This also includes, sadly, the final battle, which I calculated to be around 15-20 pages in total. But hey… silver lining. Being short is still the better outcome.
In order to discuss the characters, I must spoil a reveal about our boy, Callum. This is a spoiler for the climax of the first book, so skip to the next paragraph if you don’t wanna read it. The thing about Callum is that he does not exist. At the end of book one, he is told that he is harboring the soul of Constantine Madden, who happens to be the Enemy of Death. This puts him through quite the moral conundrum; something that not even Harry Potter had to go through. Being the “bad guy” would seem to make him super unrelatable, since the kiddies want to project themselves onto the “righteous hero”, but he’s actually relatable in a different way, as he’s constantly suffering an identity crisis (typical of most kids as well).
We also have Aaron, who isn’t actually a Ron Weasely clone. Aaron ends up being a Makar, which is not the guy from Wind Waker, but instead the term for a Chaos magic user. The policy in Magisterium is “fight fire with fire,” as only another Makar can fight the Enemy of Death (I guess?). Call has to be his counterweight, which basically means that he has to make sure Aaron doesn’t get consumed (easier said than done).
The female lead is Tamara, and she’s basically Hermione, minus being smart. She’s kind of a typical tomboyish girl who doesn’t really have anything interesting going for her. The final main character is Jasper, who is basically Malfoy, except he actually becomes an ally after a certain point. But other than his frequent, unfunny jabs at Call, he’s not too interesting either.
In the end, the moral conundrum that they try with Callum falls flat. Sure, he has to deal with his whole crisis, but there’s always a defined antagonist to make him look good. Like I said in my review of Arc of a Scythe, not having a villain that the readers can sympathize with makes writing morally gray narratives really hard. Because of this, it never really feels like Callum has any issues whatsoever. I’ll admit that they do some stuff with Aaron later that’s pretty interesting, but it feels meh in the long run.
The only reason why there’s a moral conundrum is because Magisterium is run by twelve-year-olds. I get that it’s intentional, but it’s still dumb how the faculty are next to worthless. When Callum’s issue is inevitably revealed, at least half of them are like, “He’s a murderer, throw him in jail, arrgh!” with no hesitation. It makes sense for other students to be jerks about it, but the adults should’ve had a more rational approach because they’re… ADULTS. There’s also the policy on the Devoured, which is when a person gets too into their element. The Magisterium says that being Devoured turns you into a rampaging monster, yet EVERY SINGLE Devoured that appears in the story is WELL in control of their humanity. I get that’s also intentional… but that just makes it arbitrary.
Final Verdict: 7/10
Despite all its flaws, Magisterium is still the best Harry Potter knockoff I’ve read to date. The authors try some interesting ideas, but once again, it seems that teaching young’uns about moral ambiguity is impossible. No! Kids must be raised believing that there’s only one-dimensional good and one-dimensional evil in the world! Well whatever… Magisterium has decent entertainment value. If you were threatened at gunpoint to read through all of a Harry Potter knockoff, then pick this one.
When I’m writing these blogs, I try to stray from the hyperbole that both fans and critics commonly use, and instead tell you exactly what you’re getting into. But sometimes, a work is just so spectacularly bad, and makes you so livid, that it’s almost impossible to not mudsling in a review. I will try my hardest to describe one of my least favorite light novels on the market, Mushoku Tensei: Jobless Reincarnation (published in English by Seven Seas), as honestly as possible. But I cannot make any promises.
Mushoku Tensei starts out like any isekai: a NEET gets killed in the real world, awakens in a new one, and becomes insanely powerful with absolutely no effort. This one’s model is a thirty-odd-year-old man who gets reborn as a baby and grows up in real time. But even at a single-digit age, he- with his new name of Rudeus Greyrat- already has absurd levels of power.
This is one of the absolute worst instances of the isekai formula that I have ever seen in my life. I don’t inherently hate the formula; after all, almost all of my favorite light novels are isekai. What makes Mushoku Tensei so bad is that it exaggerates the overpowered protagonist aspect to galactic proportions, and does it with a completely straight face. It’s something that would work fine if handled as a parody or satire, but the execution feels like every decision that was made was made thinking it was a genuinely good one.
I’d jump into a paragraph saying that the characters are the biggest problem in this light novel. But although the characters are a big issue, the real problem is how everything is presented. First off, for some reason Seven Seas light novels seem to be typeset in the weirdest way possible, which is basically this: all paragraphs left aligned, with normal line spacing within paragraphs, but a double space in between each paragraph itself. Bizarrely, the fourth volume started to look normal, so it could be an issue with reading them on nook versus Bookwalker. Whatever the reason, I think it looks terrible when it does occur, and for some reason, it definitely seems to affect the reading experience. The other issue is the words themselves. Other than a few satirical remarks, the story is written in the emptiest, most bare-bone basic way. This feels like a rough draft, and not a final publication (especially not of something this popular). “Oh, how do YOU know what’s a rough draft?!” you snap. Look, I’ve written several web novels before starting this blog, and they all sucked just as badly as this. The only difference is that I didn’t publish them. Sure, Mushoku Tensei has some blips of neat lore here and there, but it’s not presented in a way that piques my interest. Keep in mind that this could be a translation issue.
In addition to the typesetting and potential translation issues, the story and characters are just about as bad. The reason why I didn’t mention an actual goal for Rudeus in the outline of the premise is because he doesn’t have one. Sure, he wants to learn magic and become powerful (which he practically already accomplished), but there’s no real point. This is a slice-of-life isekai, which isn’t bad (heck, Konosuba’s one as well), but it’s done poorly in Mushoku Tensei. While it admittedly lays the groundwork for an interesting overarching story by the end of volume 2, the aforementioned bad writing makes it so that I have no interest in said story whatsoever.
As for the characters, they are walking tropes. Rudeus is a perfect prodigy, and everyone else in the world is at his mercy. The only character who seems remotely interesting is a loli named Eris, but that’s just relatively speaking; she’s still boring. Technically, there’s still development, but it feels empty and stiff. The only interesting thing about any character is that Rudeus seems to gradually come to terms with his NEETness and tries to be a better person, but it’s offset when his reward is just the continued perpetuance of his old fetishes. I don’t care about this cast, and I don’t see myself caring about them down the line. One thing I never understood is that people seem to think that any character development at all automatically makes them better characters, but that’s personally not how I roll. If you feel that way, then you’re more likely to enjoy the characters than I did.
The art is also one of the weakest I’ve seen. While it has more flourishes than, say, SAO, it’s still very bland. Eris is also the only interesting-looking character, but that’s- again- relatively speaking.
So, why did I read as much as I did? There is one reason alone: controversy. The anime for Mushoku Tensei is going to come out later this year, and it’s going to be a brouhaha. One thing that has been consistent in this series is questionable decisions. Series of minor spoilers ahead (skip to next paragraph if you want to avoid them): Rudeus falls in love with two different girls of single-digit age. “That’s not so bad, because he’s also eight, you idiot.” But recall… developmentally, HE’S STILL AND ADULT. So, essentially, a thirty-odd-year-old man grows sexually attracted to eight-year-old girls. There are also some cases of child abuse, children being naked (both of which include Rudeus), and adultery. Plus, he even gropes Eris’ breasts at one point, and she forgives him because it was his birthday.
People are gonna be livid when the anime airs, but I think it’s better being someone who gets to laugh and watch the community engage in heated debates than to engage with them. The potential for how far down the rabbit hole this can go is what’s driven me to read as many volumes as I have. In fact, I might read even more (but I really should just drop it).
Mushoku Tensei is bafflingly bad. I cannot recommend it to anyone with a straight face. I suppose that if you love the wish fulfillment aspect of isekai, along with the ideas it presents over the execution of said ideas, then you could enjoy this. But why would you when there’s so much better (and cheaper) on the market? Why read this when you could read Konosuba, No Game No Life, Torture Princess, Cautious Hero, or Otherside Picnic? The only way I could recommend Mushoku Tensei is to cringe at all the controversial stuff.
I said in my 5 Worlds post that I haven’t had the best track record with Western graphic novels. But you know what, I’m still trying my best to understand the appeal of the medium. Today’s [hopefully not] victim is The Witch Boy series, written by Molly Knox Ostertag and published by Scholastic (the same publisher as Amulet… good sign already).
A boy named Aster comes from a long line of magic, demon-fighting wizards. The men of the family are good at turning into magic, the girls are good at literally everything else. Young Aster sucks at shapeshifting, but he happens to have a knack for girl magic. Too bad it’s forbidden.
The Witch Boy is an episodic trilogy where Aster hangs out until some conflict rears its ugly head, and thank goodness it is! If this was a stand-alone graphic novel, it would’ve felt rushed. While it does spend a decent amount of time setting things up, the plot suddenly kicks into high gear out of nowhere, and the entire conflict of the first book is resolved in a very anticlimactic matter.
It doesn’t get much better later on, though. The other two books, The Hidden Witch and The Midwinter Witch, are presented in a similar manner. There isn’t enough time to really grow attached to any characters before sh** hits the fan. Each of these arcs would’ve been two or three volumes in a manga. “They would be three or four volumes in a manga, because manga suck and waste time with filler,” you point out. That’s not an inaccurate point; I hate the stupidly long cavalry battle in Prison School as much as the next guy. But a truly good manga will give you the right amount of time to get immersed in the world and the characters in a way that feels organic.
To be brutally honest, I don’t think I would’ve grown attached to the characters even if The Witch Boy was three times longer. They’re all my least favorite character trope; normal human beings. And despite the series being called The Witch Boy, the titular witch boy’s entire arc is concluded in just the first book. The second and third books tackle the character arc of Ariel Torres. She’s better than Aster, but not by a wide margin. While she’s given the most development by far, there is a disconnect because it’s all from the perspective of Aster- an observer, so you never really get to see her tragic backstory in its full crotch-kickedy-ness (professional term). Maybe the series would’ve been better if Ariel was the main character the whole way through?
If there’s any character I disliked the most, it was freaking Charlie. She’s the embodiment of that slice-of-life equivalent of wish fulfilment fantasies: the magical, down-to-earth, hyper-supportive friend who just appears to “save” the depressed main character. In this case, she saves Aster in the first book, and Ariel in the second book, by just compulsively wanting to help them for an undefined reason. While it’s certainly possible for someone this compassionate to exist, it’s not likely- given how unstable most teens are- and as indicated in my Bottom-Tier Character Tomozaki post, I don’t think it’s a good element for a narrative.
I don’t feel like there’s any substance put into these characters, but that’s- again- a consequence of how short the whole series is. Also, like with the other Western comics I’ve read, you don’t get any monologue to really know how they feel. “Monologues waste time, like in those stupid battle shounen manga,” you argue. Again, in a bad manga, monologues can get excessive. But sometimes, it’s necessary in order to really get in people’s heads. “How about understanding basic human emotions and non-verbal cues?” Well, in that case, I’m sorry for not being good at social skills.
I get that there’s some underlying theme with genders, given the whole “boys do this, girls do that.” I don’t mean to sound ignorant, but as someone who had a My Little Pony doll for each of his LEGO sets, I couldn’t take such rigid labeling seriously, despite the fact that I do know it’s sadly commonplace. But due to Ariel’s priority over Aster, the series doesn’t even explore that theme in much depth to begin with.
In the end, my biggest issue- like with the other GNs I’ve read- lies in the artwork. I don’t really mind the simplistic, cartoony character designs, but I do mind the sparse use of motion lines. There are some motion lines, but they’re used for very trivial things, like hand gestures, and not during more urgent scenes, such as- you know- fighting a demon or something. “Use your imagination, you piece of crap,” you assert. Look, I read regular novels- which are almost entirely words- every day, and provided that the writing is good enough, I can paint a pretty vivid picture in my brain. The Witch Boy is targeted toward elementary schoolers, and going off of my experience as one, no kid would have the capacity to just “imagine” stuff with so little visual information.
My biggest issue with the art is how it’s used to tell the story, or lack thereof. I could’ve downed each volume in under an hour, but I took my sweet time and really tried to understand how the composition was supposed to, you know, work. But even with how much I stared at pages of this thing, I just couldn’t see it.
Like with other GNs, The Witch Boy uses half a page- or even an entire page- with a mere establishing shot. Otherwise, most panels are rectangular and arranged in uninteresting patterns. But the author at leasts goes a couple of extra miles; by changing the negative space around the panels to black when it’s dark, and by having “slime-shaped” panels whenever something eerie is occurring. Unfortunately, I still couldn’t get immersed in the story, its characters, or its world.
Final Verdict: 5.75/10
I didn’t enjoy The Witch Boy. I don’t know what it is, but trying to understand and appreciate these comics has been an absolute hassle for me. I exited my comfortable zone of Japanese culture and busty waifus, tried something unfamiliar, and it didn’t pay off. I’ll admit it, this negative review is entirely my fault. I apologize to the author for insulting something that they poured their heart into. Maybe someday, if I ever can enjoy a Western comic, I’ll come back to The Witch Boy, and realize just how great it truly was.
Every so you often, you get someone’s attempt at making the Magical Girl genre “edgy”. Results have varied wildly over the years, to say the least. To list some examples, Magical Girl Apocalypse went full edgy, not even trying to have a cohesive narrative of any sort, and Magical Girl Spec Ops took itself more seriously, trying to showcase the aftereffects of war trauma on people and society. But what if you just simply turned Sailor Moon’s simple premise on its head? That’s what happens in MachiMaho: I Messed Up and Made the Wrong Person Into a Magical Girl!, published in English by Seven Seas.
In MachiMaho, the usual space cat goes to seek out a chosen girl who is destined to fight a force of one-dimensionally evil demons. But instead of running into an adorable ditz that any twelve-year-old can relate to, he finds Majiba Kayo, a brash young teen whose hobbies include smoking and punching. She doesn’t even remotely want to become a Magical Girl, but her insane negative energy is attracting massive hordes of demons to her, so… She kinda has to at this point.
This premise is the kind of stupid that I enjoy seeing, and it’s even similar to a Magical Girl series I tried to write several years ago. But of course, execution is what counts, and while I ultimately scrapped mine because it sucked, MachiMaho soared to dazzling heights.
And good thing it did, because the story… isn’t really that interesting. Like I said in the premise, the demons are one-dimensionally evil, similar to Sailor Moon‘s almost indistinguishable antagonists. It doesn’t really stir up any intrigue either, other than some hints for what Majiba’s past could’ve been like.
So with a story that’s bunk, what’s left to enjoy? Well, the characters, for starters. If you couldn’t tell from the cover art, almost every egg is put into Majiba’s basket; about as many eggs as what Gaston eats every day. To put it in non-Disney terms, Majiba is the Magical Girl protagonist that we needed all this time. She’s selfish, temperamental, and cusses almost as often as she smokes. “Uh all of these make her sound like a horrible person,” you point out. If you said that, then you must be new to my blog. Some of my favorite main characters have been very… morally incorrect, to say the least, and Majiba’s no different. I love her!
Of course, there are still other characters. There’s Myu, the space cat that tends to be a punching bag that makes an intentionally overabundant amount of cat puns. We also have a rival character in Shusai Nako, a Dark Magical Girl who gets manipulated by her demon, Mon-chan, into thinking that Majiba is evil. We also can’t forget Kuwabara-wannabe Masanido Rei, who despite coming off as weak, can actually hold his own somehow.
More than anything else, the art is what makes MachiMaho so good. From the expressiveness of the characters, to the insane action panels, the art really brings out the edginess in MachiMaho. The best panels are the ones where Majiba smokes and it has the words “HOLY SHIT” written with hearts and sparkles around it. The art does seem a bit TOO similar to Magical Girl Apocalypse, but there really is no other way to draw an edgy Magical Girl series and sell it well besides this.
Current Verdict: 9/10
I daresay that MachiMaho is perhaps the greatest entry in the entire Magical Girl genre. It’s fun, stupid, and full of teen angst. I’d even argue that more girls could relate to it than Sailor Moon. I highly recommend it to anyone who wants to see wild and crazy action!
Have you ever read a YA novel, like… Daughter of Smoke and Bone, for instance, that promised to be super dark and angsty with a badass, proactive protagonist, and then suddenly broke that promise like Link smashing an urn in somebody’s house? Well, I had that experience with the aforementioned novel and many others. Astonishingly enough, The Thickety, a children’s book series published by Harper Collins and written by J.A. White, is angstier than most YA authors could dream of writing. And here, I’ll detail why.
In the series’ opener, The Thickety: A Path Begins, Kara Westfall’s mother gets burnt alive for allegedly being a witch. Good ol’ Disney formula. However, village chief Fen’de Stone made a good call, for Kara’s mom actually WAS a witch. And one day, Kara finds her mom’s old grimoire, and it enables her to manipulate creatures from the forbidden forest known as the Thickety, which is the home of Sordyr, who is some tree demon man. The catch is that not only does she have to keep it a secret from everyone, but it also eats away at her soul for every spell she uses. Lovely.
While this sounds like a generic YA power fantasy, The Thickety is executed exceptionally well. The big thing is how the premise of the grimoire system is handled. Throughout the first book, you see firsthand what happens when you cast a grimoire’s Last Spell (which, spoilers, is something you don’t want to do). To compare The Thickety to Amulet, a similarly angsty book series which I didn’t like, that graphic novel- at least the portion that I read- never showed any visible consequences of Emily’s using the Amulet besides one other guy turning into a big monster thing. However, the scene was very unceremonious and the Amulet itself was never contextualized well enough to define any prerequisites for when it “takes you over” or whatever. Furthermore, Emily- like the Mary Sue that she was- seemed able to fend off the temptations ridiculously easily. Even if Emily might get taken over by the Amulet further down the road, Kara really struggles against the grimoire right out of the gate, and White’s writing talent shows that in full force.
The start of A Path Begins is rather slow, as is with most book series. Fortunately, once things escalate with the grimoire, it gets really intense and really scary. I was impressed by how disturbing some of the imagery is given the target demographic. And it only gets crazier in book two, The Whispering Trees, which is spent inside the titular Thickety itself.
The cast of The Thickety is its weakest aspect, but it’s by no means bad. Kara is a pretty generic YA protagonist, but fortunately, she’s not quite a Mary Sue. She actually has to deal with the consequences of the grimoire and her decisions. She’s an intentionally flawed heroine, but done right. And unlike most YA protags, she is actually able to kill in cold blood (gore warning, kids).
Taff, her younger brother, is my least favorite character by far. He’s the generic, rash and reckless adolescent male who goes through an underdog phase throughout the story. However, the aspect of him that I love- and probably the most important writing decision in the entire series- is simply him being Kara’s brother. With the male and female leads as siblings, there’s no romance! Her sisterly love for him feels more real than what most YA protagonists feel for their significant others, and without the cringey dialogues of those protagonists. There is Lucas, the designated childhood friend, but White seems to have gone out of his way so that he and Kara never get to spend much time together. Depending on your tastes, that’s either a godlike breath of fresh air or the worst news ever.
The biggest problem with The Thickety is that it kind of falls apart at the end. No… that’s too harsh. It really kind of fractures a bit. As much as I praised Kara’s struggle with the grimoire, that issue ends up being resolved rather conveniently at the halfway point. And after that point, Kara ends up devolving into a more YA-like, Mary Sue brat, while Taff- of all people- ends up becoming the voice of reason (wow, after saying how much better than Amulet this is, it suddenly BECOMES Amulet). Also, due to the pacing of the books, a lot of the setpieces in the latter half of the story kind of get glossed over. It also falls for the typical modern fantasy trap of “Yeah, I can put in this thing that hadn’t been contextualized before because magic!” in the fourth and final book (including a decently inventive but nonetheless existent use of time travel).
Final Verdict: 9/10
The Thickety, overall, is freaking incredible. Horrifying scenarios, tight pacing, and powerful prose bring an otherwise cardboard cutout fantasy series to life in full throttle. Although the author arguably cops out at the end, it’s nowhere near long enough for that portion to feel like a drag. At the very least, all plot threads get resolved in some way, which is something. I highly recommend it for someone who’s looking for fun, suspenseful, gritty fantasies.