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hisazuki · 8 years ago

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Novels I’ve read in 2017

I made some stats on the books I read since the new year, and it’s quite scary how often I’ve been staying up late to read all that (and how often the trains to/from work were running late).

I’ve also bolded the books I really liked.

January, 1st -> January, 10th: The Ambassador’s Mission (FR) by Trudi Canavan (first book in the Traitor Spy trilogy), 456 pages

January, 10th -> January, 18th: The Rogue (FR) by Trudi Canavan, 432 pages

January, 18th -> January, 22nd: The Traitor Queen (FR) by Trudi Canavan (end of the Traitor Spy trilogy), 456 pages

January, 22nd -> January, 28th: The Spook's Revenge (EN) by Joseph Delaney, 416 pages

January, 28th -> February, 8th: The Blood Mirror (EN) by Brent Weeks, 704 pages

February, 8th -> February, 11th: A New Darkness (EN) by Joseph Delaney (first book of the Starblade Chronicles), 352 pages.

February, 11th -> February, 15th: The Dark Army (EN) by Joseph Delaney, 336 pages.

February, 15th -> February, 18th: The Dark Assassin (EN) by Joseph Delaney (end of the Starblade Chronicles), 304 pages.

February, 18th -> February, 23rd: Another Episode S (FR) by Yukito Ayatsuji, 288 pages.

February, 23rd -> March, 2nd: Throne of Glass (EN) by Sarah J. Maas, 432 pages.

March, 2nd -> March, 14th: The Assassin’s Blade (EN) by Sarah J. Maas, 448 pages.

March, 14th -> March, 18th: Crown of Midnight (EN) by Sarah J. Maas, 432 pages.

March, 18th -> March, 25th: Heir of Fire (EN) by Sarah J. Maas, 593 pages.

March, 25th -> April, 2nd: Queen of Shadows (EN) by Sarah J. Maas, 663 pages.

April, 2nd -> April, 18th: Empire of Storms (EN) by Sarah J. Maas, 694 pages.

April, 18th -> May, 1st: Sword Art Online vol. 10-11 (FR) by Reki Kawahara, 576 pages.

May, 1st -> May, 8th: DanMachi vol. 3 (FR) by Fujino Oomori, 256 pages.

May, 8th -> May, 13th: Night Shift (EN) by Charlaine Harris, 316 pages.

May, 15th -> May, 28th: Charmed Life (EN) by Dianna Wynne Jones, 288 pages.

May, 28th -> June, 2nd: The Magicians of Caprona (EN) by Dianna Wynne Jones, 288 pages.

June, 2nd -> June, 11th: Witch Week (EN) by Dianna Wynne Jones, 304 pages.

June, 11th -> June, 20th: The Lives of Christopher Chant (EN) by Dianna Wynne Jones, 240 pages.

June, 20th -> June, 26th: Mixed Magics (EN) by Dianna Wynne Jones, 176 pages.

June, 26th -> July, 5th: Conrad’s Fate (EN) by Dianna Wynne Jones, 392 pages.

July, 5th -> July, 12th: The Pinhoe Egg (EN) by Dianna Wynne Jones, 483 pages.

July, 12th -> July, 21st: DanMachi vol.4 (FR) by Fujino Oomori, 300 pages.

July, 21st -> July, 31st: Re:Zero kara Hajimeru Isekai Seikatsu vol.1 (FR) by Tappei Nagatsuki, 280 pages.

July, 31st -> August, 24th: Log Horizon vol. 5-6 (FR) by Mamare Touno, 300 pages.

August, 24th -> September, 2nd: Spice & Wolf vol. 18 Spring Log (EN) by Isuna Hasekura, 240 pages.

September, 2nd -> September, 13th: Thief’s Magic (EN) by Trudi Canavan, 561 pages.

September, 13th -> September, 30th: Angel of Storms (EN) by Trudi Canavan, 608 pages.

September, 30th -> October, 13th: Successor’s Promise (EN) by Trudi Canavan, 576 pages.

October, 13th -> October, 24th: Tower of Dawn (EN) by Sarah J. Maas, 668 pages.

October, 24th -> November, 21st: The Core (EN) by Peter V. Brett, 800 pages.

November, 21st -> December, 6th: Sword Art Online vol. 11-12 (FR) by Reki Kawahara, 513 pages.

December, 6th -> December, 17th: Wolf & Parchment: New Theory Spice & Wolf vol. 1 (EN) by Isuna Hasekura, 280 pages.

December, 17th -> December, 22nd: DanMachi vol.5 (FR) by Fujino Oomori, 335 pages.

December, 22nd -> January, 2nd: Re:Zero kara Hajimeru Isekai Seikatsu vol.2 (FR) by Tappei Nagatsuki, 299 pages.

This of course doesn’t include the ton of manga chapters I’ve read at the same time.

#reading stats

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recentanimenews · 6 years ago

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The Authors of DanMachi & Kino’s Journey Exchange Theories on the Creative Process!

The mobile game app, Is It Wrong to Try to Pick Up Girls in a Dungeon? ~Memoria Freese~ recently hosted a special collaboration event between DanMachi and Kino’s Journey -the Beautiful World- the Animated Series, which led to discussions between their authors, Fujino Oomori-san and Keiichi Sigsawa-san. In the second part of this interview, we inquired about various key points of the scenario proposal by both authors.

In our discussion, we cover not only the appeal of this collaboration event, but also their approach to writing their own works, unknown stories about the creation of intriguing episodes, the differences between writing scripts for novels and games, and many other topics as well. This time, we’ll touch on their later writing plans as well, so please read to the end.

You can try the mobile game app, Is it Wrong to Try to Pick up Girls in a Dungeon? ~Memoria Freese~ here.

Read part 1 of this interview.

Kino’s Journey is like writing a four-panel comic strip. DanMachi is like writing a shounen manga.

—The two of you are both constantly announcing titles, but how do you usually come up with your stories?

Keiichi Sigsawa: Kino’s Journey is built off major punchlines, so I think it feels like a four-panel comic strip. If I can come up with the punch, it’s practically done, and all that remains is placing the right characters for that situation. But getting to that point is pretty hard.

Also, as the series has stretched into more volumes, it’s covered more episodes, so there are cases when a punchline is rejected because it would overlap with a past one.

—But on the other hand, you don’t really need to worry about the chronology of the episodes.

Sigsawa: That’s true. Kino’s Journey is a collection of a short stories, after all. The way I go about creating it is different from works with a continuous story like Oomori-san’s DanMachi or my own Sword Art Online Alternative Gun Gale Online.

Fujino Oomori: That’s true. Personally, I want to bring more passion and excitement to the story than the previous episode did, so I end up debating things or working through different things because of that. Sigsawa-sensei just compared his work to a four-panel comic strip, but I think DanMachi is built around its battles. I tend to write backwards, trying to figure out how to make the final battle exciting.

��You don’t mean like the Minotaur battle you depicted in the first arc?

Oomori: I’m constantly hoping I can outdo that one. I think the people who read my work are also looking for the exhilaration of orthodox shounen manga-style battles. So I’m constantly thinking about how I can add excitement, suspense, and passion.

In contrast, I challenge myself with rather serious stories and episodes featuring exchanges between those who aren’t the protagonist in my side stories. It’s kind of like learning while I write.

—Is there anything you’ve experimented with in Sword Oratoria that you’d bring into your main work?

Oomori: I think the side story’s setting in the Loki Familia is something I wouldn’t have been able to delve into as deeply in the main title. Plus, since it helped expand my world, I was able to provide GREE-san a lot of information for DanMemo. I think it’s been well worth the difficulty of continuing the side stories alongside the main one.

“When you give a character a name, you can empathize with them.” —Sigsawa

—There’s an extremely large number of characters appearing in DanMachi. Isn’t it difficult writing for such large cast?

Oomori: There’s a whole lot of characters, so honestly, it becomes a struggle for their chance to appear. I really should give Hestia and Ais more chances to shine, but now and then I also feel like, “I should let this character do this.”

Also, sometimes I get advice from my editor, like, “We should give the old dwarf some action.”

—How about you, Sigsawa-sensei? Though in Kino’s Journey, only the main characters have names.

Sigsawa: Kino, Shizu, Master, Photo... The story revolves around those four main characters and their groups, so it’s easy on the character front. But in other longer works, I’ve also had the cast of characters grow too large, and start debating over the fact that some characters have lost their chance to appear.

Oomori: I’ve been meaning to ask you this, Sigsawa-sensei, but there are times where some characters get names in your short stories, right? Like Laohua in “The Country Without Border Walls” (Volume 3) or Inertia in “Country of Illness” (Volume 5). I empathize really strongly with characters that get focused on like that, but is that something you’re aiming for?

Sigsawa: It is. When a character is important, only then will I give them a name. The rest I just identify by their roles, like “president,” or “national leader,” haha.

—Does that make it easy to control the reader’s emotions?

Sigsawa: Having a name makes the characters stand out. And you want readers to empathize with the character when they’re going to have a strong impact on the story.

Oomori: So I’ve totally been dancing in the palm of your hand. I liked Laohua-san way too much.

Sigsawa: Oh, this is a minor spoiler, but I think most of the time I give a brand new guest character a name, they die. Of course there are some characters that don’t die, but I think maybe 70% of them die.

On the other hand, when I make people think they’re going to die and they don’t, they sometimes rise up to join the regular cast, haha. Like Photo and Ti.

—Haha, you were going for that with Photo, too?

Sigsawa: In Photo’s case, I never intended that at all when I first wrote “In the Clouds” (Volume 3), but after several years passed, I thought, “You know, it would actually be interesting to retell that tale from another perspective,” so I had her reappear in “Before the Clouds” (Volume 12).

So then I thought, “Well, since she already has a motorrad (Note: two-wheeled vehicle. Refers only to those that can’t fly), maybe I’ll make this slave into a main character and expand on her,” and I gave her a name in the next volume.

I wanted to make her “someone who doesn’t travel,” to contrast with Kino, so I had her settle in one country and crafted dramas within that land. Their names also draw on that meaning with Photo (Photograph) contrasting with Kino (Kinematograph).

“I want to boast about collaborating with Sigsawa-sensei to other authors.” —Oomori

—I believe both of you are involved in supervising various mixed media projects like anime and manga in addition to your novels, but what are some points to keep in mind when writing a similar script for a game?

Oomori: There are differences due to the medium. When I’m reviewing DanMemo, my thoughts are deeply drawn to the fact that games always need expositional dialogue.

In novels, you have stage directions to explain the situation, and in manga or anime you have images to explain that, but in games you have to convey that through dialogue. Plus, when the game is fully voiced, you can’t read it at your own pace, so that always adds tedium.

I’m always paying attention from a user’s perspective, so I notice DanMemo cuts that out as much as possible to place greater emphasis on its tempo.

Sigsawa: That’s a phenomenon you only see in games, yeah. I learned about that back when I supervising the script for the game BLUE REFLECTION.

On top of that, the text window has fixed size, so you have fit every line within its confines and be careful of those constraints too when writing. Also, after everything is said and done, it’s not that difficult revising the lines for my own characters, but I had to be very careful whenever I had to change the lines of one of DanMachi’s characters during my revisions.

Oomori: That’s true. We needed to play catch every time we needed to fix the other’s lines, so we’d have to be careful while checking in with each other. I think we took our time and went back and forth on that about three or four times.

Sigsawa: We were checking it over word by word, so it took a lot of time and stamina, but it really helped a lot that our work was really just honing the details. I think the game’s scenario writers did an excellent job.

Oomori: This collaboration was practically stress free for me, too. I thought writing manuscripts was fundamentally done with one’s editor, but this time Sigsawa-sensei was catching the balls I threw and throwing some right back at me. The whole exchange was just so much fun.

I want to boast about it to other authors. I want to say, “I collaborated with Sigsawa-sensei. We came up with the story together!” Haha.

—Was there any aspect of this collaboration you paid particular attention to fine-tuning?

Oomori: I don’t think there was anything I particularly objected to. Just, DanMemo has special moves built in, so I remember thinking Kino wouldn’t really shout “Flute!”

Sigsawa: I remember we had to come up with special moves. It’s a pretty common pattern for me to be asked to come up with move names when Kino appears in a game, haha. Kino never has any named moves, so it’s something I always have to ponder, but in a sense it was okay, since I’m used to it.

Oomori: When reading the original novels, I felt that Kino and Shizu’s moves were cool, so I hope we captured that sensation well.

I really liked the fights in “Country of Heroes” (Volume 5) for Kino, and in “Tale of Extortion” (Volume 4) for Shizu. I hope we managed to capture a hint of that in the game, too, but it’s pretty difficult.

Sigsawa: The episodes you just brought up are ones where I rather meticulously planned out the battles, so it might be a little impossible to pull that off in a collaboration. But I think the action scenes and special move effects came out looking really cool this time.

Novels, Games, Anime. A collaboration project brought about through this trinity.

—What were some of the scenes you two liked in this collaboration?

Sigsawa: Personally, I really liked the section about Shizu’s group fitting right in with the Japanese-style members of Takemikazuchi Familia and becoming fast friends with them. Also the part where Photo and Hestia become close, too.

Also, I think we really did a good job constructing the story so we could actually touch on the hidden truth behind DanMachi’s story in this scenario. I was genuinely impressed when I read that.

Oomori: I was happiest about the scene at the end of the scenario where Kino and Bell shake hands. We managed to make that scene happen because Sigsawa-sensei said, “It would be nice if they shook hands.” That image of two protagonists from different works joining hands together was a dream collaboration of its own, and I was so happy I cried.

Oh, right, and Sigsawa-sensei came up with all the English titles that follow the chapter titles.

Sigsawa: That’s right, I did. I thought having those would help bring out the feel of Kino’s Journey.

Oomori: Thank you very much! I’m very grateful, Sigsawa-sensei!

Sigsawa: Also, those at EGG FIRM who worked with Kino’s Journey and DanMachi played a huge role on the visual end. Their producer, Nobuhiro Oosawa-san, cooperated with us and provided the 3DCG model of Hermes from the anime as-is. Same with the designs for Kino and others’ outfits. To be blunt, we could laugh without worrying about how to implement the characters, but everyone else was running around wildly for us.

Oomori: At the end, Oosawa-san started scheming a bit, too, didn’t he? He whispered something like, “We should get both illustrators to draw something, too.”

Sigsawa: Uh-huh, haha. Oosawa-san conspired with us on the idea of “Hermes riding Hermes.” It was the build up of one coincidence after another.

—The production behind Hermes fighting enemies on Hermes was entertaining, too.

Oomori: That was a part we discussed in detail with GREE-san as well. In DanMemo, the characters are split between Adventurer and Assist roles, but Hermes is a god, so really, he shouldn’t be fighting. That’s why I thought he’d be an Assist this time around. But then the Director said, “We’ll make him an Adventurer as a set pair with Hermes,” haha. It became the first debut of a god as an Adventurer.

—This is something that just crossed my mind, but did you ever plan on Master from Kino’s Journey making an appearance?

Sigsawa: We reached an agreement rather early on that Master wouldn’t appear. We could have the old Master, and it would’ve been pretty difficult to have the young Master cross time to appear. Not to mention, we already planned on Shizu and Photo’s groups making an appearance, so we felt that was enough.

“If we collaborate again, we could try using Orario 3,000 years from now.” —Oomori

—Is there anything you didn’t manage to do to this time, or something you wanted to include but couldn’t realize?

Oomori: This is wholly my own opinion, but part of me really wanted to bring the bitter outlook of Kino’s Journey into DanMemo, too. The world of DanMachi is fundamentally a kind one, where good is rewarded and evil punished, but this time I put a lot of debate into how we could express the great, bitter harshness of Kino’s Journey. When I met with Sigsawa-sensei to discuss the plot, I was so persistent in asking, “How can we bring out the atmosphere of Kino’s Journey?” that I thought I was being a nuisance during our talks.

Sigsawa: True. I wanted to try and include something of a bitter or mysterious punch, like Kino’s Journey does, after they left Orario. The scene after the leave the country came out promising.

—Oomori-sensei, what do you like about Kino’s Journey?

Oomori: Since we were going to be collaborating, I read through some of the novels and found myself drawn to its truly unique world, which I could never write.

Also, I really like the afterwords. I’m really surprised you can write afterwords like that.

Sigsawa: It’s hard work coming up with those, haha.

Oomori: I thought that had to be the case. But honestly, Kino’s Journey left me with feelings after reading that I hadn’t felt before, so I really admire it. So if we ever get the chance to collaborate again, I hope we can depict that bitter outlook.

Sigsawa: Thank you very much. I’d really like to see that, but fundamentally Kino never visits the same country twice, so I don’t know.

Oomori: Oh, that’s right. Then how about… in a different city after 3,000 years have passed and Orario is ruins?

—Are you okay with that as the original creator, haha?

Sigsawa: It could be possible if we go with the pattern where all the characters from DanMachi set off on a journey. That would mean drawing all new backgrounds and so on from scratch, but would that be okay?

Producer: I’ll draw as many as it takes!

Oomori: That’s really just my own ego talking, so please forget about it, haha. I think the scenario for this is one that both light users and those who’ve read both original works can enjoy. It really is a good collaboration that can serve as an entry point to both works.

Sigsawa: That’s right. Personally, I didn’t put much focus on the fact that this is for a game and approached this work with the idea of what we would do if we were creating an anime or movie together. Like it was one of the collaboration films in the old Toei Cartoon Festival.

But I think it would have been pretty rough if we were actually working on a movie. I think this project truly took advantage of the virtues of social games.

Oomori: I don’t think we could’ve done it with such light footwork.

Sigsawa: I’m sure GREE-san really had a hard time, so thank you very much.

Producer: Actually, when you put together all the data we recorded from the cast for this, it comes out to about an hour and ten minute voice drama. It really is about a whole movie’s worth.

Sigsawa: What? Then wouldn’t it be interesting if we did make a movie version? Or so I’ll say for the sake of saying it, haha. I’m the type to say what I think.

Oomori: The power of words is already at work here. So I think that’s important, too, haha.

“I hope readers come to learn more about the worlds of both works through this collaboration.” —Sigsawa

—I’d like to you ask you both to share a final message for the fans, but what are your aspirations for the future?

Sigsawa: Well, right now I’m using GGO for my twitter icon and tweeting notices about Kino’s Journey when I happen to remember to, but I’ve really been busy since last year. Kino’s Journey is my life’s work though, so I want to work hard at it.

Oomori: You’re too amazing, getting animes two years in a row. You really don’t get any rest, do you?

Sigsawa: That’s true. This time, with GGO, I’m participating in all of the script meetings from the beginning, and I attend the post-recordings.

I just hope all the fans enjoy this collaboration for now. I can only say good things, but if by chance you’re a fan of Kino’s Journey and haven’t heard of DanMachi, or you’re the opposite, then know that we’ve done some unusual things here, so if you didn’t know of one before, I hope you’ll find interest in it through this.

—Oomori-sensei, people are curious about the animated movie and second season announced in Volume 13 of DanMachi.

Oomori: Unfortunately, I can’t give any information on the anime, but here’s a little for the novels. Right now, Volume 13 cuts off at an incredible point, and those reading the original work are left feeling impatient, haha.

I might even be hearing some fans say, “Write your book instead of taking interviews!” But right now, I’ve finished writing about 350 pages of it, so you’ll only need to wait a little longer.

—Haha, using this space for advertising...

Oomori: I thought I was likely to get asked about that here today, so… haha. But honestly, I’ve already gotten that far, so you should be able to enjoy it very soon. Also, for the users of DanMemo, if you aren’t familiar with Kino’s Journey already, then I hope you get a taste of how wonderful the original work is. Once you read up to Volume 3, you’ll get hooked and won’t be able to escape it, just like me!

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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shirotdezainathings · 7 years ago

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DanMachi Infinite Combate (PS4/PS Vita) anuncia fecha de lanzamiento para Japón - 5pb. ha anunciado la fecha de lanzamiento de Is It Wrong to Try to Pick Up Girls in a Dungeon? Infinite Combate (Dungeon ni Deai o Motomeru no wa Machigatteiru no Darou ka Infinite Combate) en Japón para PlayStation 4 y PlayStation Vita. El juego estará disponible el 29 de marzo de 2018 a un precio de 7.800 yenes en su edición normal y 9.800 yenes en su edición limitada.

La edición limitada del juego incluirá una banda sonora en un CD y un Adventurer’s Guidebook” con capturas y trucos.

Sobre esta franquicia Serie de novelas originales de Fujino Oomori (guión) y Suzuhito Yasuda (ilustraciones) publicadas en la línea editorial de GA Bunko. Cuenta con distintas adaptaciones al manga y adaptaciones al anime producidas por J.C.Staff.

Sinopsis La acción de Dungeon ni Deai wo Motomeru no wa Machigatteiru Darou ka tiene lugar en Orario, una laberíntica ciudad también conocida como “La Mazmorra”. Bell Cranel es un aventurero inexperto al que le encantaría “tener un encuentro trascendental con una persona del sexo opuesto”. Un día, Bell es atacado por un minotauro. Antes de perecer a manos del monstruo es salvado por Aiz Wallenstein, una aventurera de primerísimo nivel. El pobre Bell se queda prendado de ella inmediatamente, por lo que se propone convertirse en un aventurero tan bueno como ella. Sin embargo, más tarde se topa con Hestia, “la diosa lolita” debido a su baja estatura y su generoso pecho, que inmediatamente se enamorará de él. https://www.dailymotion.com/video/x680jwk

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shazzeaslightnovels · 5 years ago

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Danmachi 10

Author: Fujino Oomori

Illustrator: Suzuhito Yasuda

Label: GA Bunko

Release Date: 13 May 2016

This sure was a dark and hopeless volume. It employed a lot of tropes that I’m not a fan of but I really liked what it did with Ais and the Loki Familia and it was an interesting read overall. Still, I can’t help but miss the optimistic tones of the early volumes. The series has always had it’s darker moments (like Lili’s backstory) but it’s never felt hopeless. I hope that the next volume is more on the optimistic side.

English Release:

Yen-press is currently releasing this series in English under the title of Is it Wrong to try to Pick up Girls in a Dungeon?

Story:

This volume is a continuation of the Xenos plot from volume 9 and it takes it in a much darker direction than I was expecting. While I had expected it to be a bit dark, I hadn’t expected it to be this hopeless and I’m not sure if I like it. It’s interesting but I hope that the next volume more optimistic.

I really liked what this volume did with Ais and the Loki Familia in this volume though. This volume feels like it’s really starting to question what the qualities of a hero actually are and I really like that it’s starting to do that and I hope that the next volume takes it further.

Character:

I think the author did a really good job at getting the readers attached to Wiene so quickly. Wiene was only there for one volume but it’s hard not to miss her when the Hestia Familia is also missing her.

The Hestia Familia (aside from Bell) is barely in this volume and I missed them a lot. I hadn’t realized just how attached I’d gotten to these characters - especially Hestia - before this volume.

I was surprised by just how expressive Fels was in this volume. In Sword Oratoria, he’s such a mysterious figure so it was weird seeing him act so human-like.

Like I said, I love how this volume handled Ais and the Loki Familia. I feel like Bell has always idolized them as the ideal heroes that it was really interesting seeing this volume have a very different take on them and I can’t wait to see more of it.

I don’t own volume 11 yet but I’ll be getting to it soon. I do have Sword Oratoria 6 and will be reading that soon as well. Next up, however, is Mimizuku to Yoru no Ou

#Danmachi #dungeon ni deai wo motomeru no wa machigatteiru darou ka #is it wrong to try to pick up girls in a dungeon?#light novel #light novel review #fujino oomori #suzuhito yasuda #ga bunko #October 2019

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shazzeaslightnovels · 5 years ago

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Danmachi Familia Chronicle Episode Lyu

Author: Fujino Omori

Illustrator: Nilitsu

Label: GA Bunko

Release Date: 14 March 2017

English Release:

This series is currently being published in English by Yen Press as Is It Wrong to Try to Pick Up Girls in a Dungeon? Familia Chronicle Episode Lyu so please pick it up if the series interests you.

Art Notes: Lyu in drag *_* Nilitsu’s art is as gorgeous as usual and I love the final illustration in the volume, with all The Benevolent Mistress girls together. It’s so cute! There are a couple of ecchi illustrations and Runoa’s adeventurer outfit is really weird (I’d imagine that it was designed by Yasuda) but there’s nothing too bad in it.

Well, this was very different to what I’d expected it to be, in a good way. For one, I thought that this would be a flashback volume starring the Astrea Familia and What Happened There. Instead, the volume focuses on Lyu and the other staff at The Benevolent Mistress (apparently, this is how Yen-Press localized the name and, I have to say, it’s better than calling it Hostess of Fertility). Before reading this volume, I didn’t care about these characters at all and now I love each and every one of them, especially Syr. I remember reading volume 1 and being very suspicious of Syr and now, well, I still don’t completely trust her and I would hate to be her enemy but I actually love that about her now. She’s such a magnificent troll and a little shit and I love her. Lyu, as well, was spectacular in this volume. The volume has two stories and the first was a really fun spy story and the second one was full of found family feels. I really enjoyed both stories!

You can read this volume any time after volume 6 (episodes 1-4 of season 2 of the anime). Really, you can read it before that, if you don’t care too much about being spoiled. It’s a must-read if you like Lyu, Syr or any of the staff at The Benevolent Mistress and I’d recommend it if you’re a fan of the franchise who hasn’t checked it out yet.

This volume has two stories: Crush the Grand Casino and That is a Benevolent Tavern ~Girl meets Girls~. I will be talking a bit about the ending of the first story under the cut but I have marked the section where I talk about that so just avoid the marking if you want to avoid spoilers.

Crush the Grand Casino:

This story follows Lyu and Syr as they infiltrate a casino in order to rescue a girl, Anna, who was gambled away by her father. Lyu dresses up in a suit and disguises herself as “Maximilian” and Syr plays her wife and it is everything I never knew I needed. Bell gets involved too and it gets even better. With the recent developments in both the main series and SO, I’ve forgotten just how fun this series can be and this was a very welcome reminder. The true MVP here is Syr, though. I didn’t realize just how fond I’d become of her until now. I love that little troll.

~START SPOILERS~

I do think that the story falls flat at the end though when Anna falls in love with Lyu, in disguise, and Lyu’s all “I’m a girl” and Anna’s shocked and then Lyu becomes insecure about her femininity and gets Bell to comfort her. This is a recurring issue with this series where something incredibly gay happens only for it to be “no homo”-ed a few scenes later. It happens a lot in Sword Oratoria where Lefiya and Filvis are teased constantly only for a scene to pop-up every once in while to remind you that Filvis is meant to have a thing for Dionysus. It’s really annoying because it feels like Omori does want to write a proper fxf romance but is prevented from doing so for some reason. I’m not sure that it’s entirely Omori’s fault - it could be that the publisher and/or editor is nervous about doing full-blown queer couple. The only canon queer stuff that I can think of so far is Apollo and Ishtar. Apollo plays into the creepy predatory gay stereotype and Ishtar’s relationship with Aisha was all about power and control. Of course, there’s also Lefiya but I’m always super anxious that she’s going to end up joining Bell’s harem. It is super frustrating and I hope to see a proper non-villainous canon queer couple in this series soon.

Also, I have to question whether Anna would really be happy going back to a father who treated her like an object to be gambled away. He doesn’t even seem to be that repentant as you can see him drinking in the epilogue despite promising his wife and daughter that he would quit. I didn’t know Anna for long but I hope she finds some happiness.

~END SPOILERS~

That is a Benevolent Tavern ~Girl Meets Girls~:

Found family feels, oh how I’ve missed you. This story is closer to what I thought that this volume would be as it tells the story of how Lyu and the others came to be a family and work together at The Benevolent Mistress. I loved it. It’s a story of healing and found family and it’s one of my favorite things that the series has ever done. It also really adds a lot to Lyu’s character and we find out a lot more about the other members of The Benevolent Mistress. It’s really funny and I loved it.

Adaptation Notes:

The manga is illustrated by Hinase Momoyama and appears to be complete at 6 volumes. Lyu! in! drag! Lyu! in! drag! Lyu! in! drag! Okay, I’m done. I haven’t read all of the manga adaptation yet but it’s very good so far and I love the recaps at the start of each chapter which are so funny. They’re like 1~2 pages long and are a wonderful addition to the story. Momoyama’s art is great and suits the series. It’s a really good adaptation of the light novel and I’d recommend it.

I know that there is a Freya volume as well but I’m a long way off from reading it, since I’m going with release order in this series so it would be after Danmachi 15 and Sword Oratoria 12. Next up in the series is Sword Oratoria 8 which I own and will be reading very soon.

#Danmachi #Familia Chronicle #Episode Lyu #fujino oomori #Nilitsu #Fujino omori #ga bunko #February 2020 #Positive review #Favorite volumes

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shazzeaslightnovels · 5 years ago

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Danmachi 11

Author: Fujino Oomori

Illustrator: Suzuhito Yasuda

Label: GA Bunko

Release Date: 14 October 2016

Never thought I’d say this about a Danmachi volume but this volume is so poorly paced. It’s 470 pages long and it really doesn’t need to be. So many scenes could have been cut or shortened with little consequence yet other events feel too short (in particular, everything with Ais should have had more of a focus). The plot itself doesn’t really feel like it starts until page around page 150 and almost everything before that is dull and feels pointless. This volume is more hopeful than volume 10 but it also doesn’t really do anything that interesting with the Loki Familia like the last volume did. It starts interesting but ends up being kind of anti-climactic with how clean the volume ends. There were some parts of this volume that I liked like how everyone in the Hestia Familia gets to do something in the volume and I did think that the story was good, even if I didn’t like how it was executed. I think I’m going to enjoy seeing it animated when season 3 comes out and I can’t wait to see how Sword Oratoria handles this arc. But, at the end of the day, so much of this volume is focused on Bell and his story and that’s just not what I’m interested in the most.

English Release:

Yen-press is currently releasing this series in English under the title of Is it Wrong to try to Pick up Girls in a Dungeon?

Story:

This volume concludes the Xenos arc and it’s more hopeful than the last volume but I didn’t think it was as interesting, with regards to the Loki Familia. I just didn’t think that there was enough pay-off to everything that was set with them and Ais really should have had a bigger part in this volume.

Like I said, this volume is poorly paced. It’s far too long and a lot of the scenes drag. I remember how good the pacing in the early volumes were and it makes me wonder if the series changed editors or something.

This volume is a good conclusion to the arc but it was just too focused on Bell and his story for me to really enjoy it. I did appreciate that everyone in the Hestia Familia had something to do in this volume but it felt too focused on Bell and it’s becoming a bit irritating that he’s so much more powerful than the rest of the characters. I hope that the next volumes spend some time to power up the other members of Hestia familia.

Character:

Though most of the volume is focused on Bell, Wiene and Haruhime were the stand-out characters in this volume. Haruhime had this really great moment that showed off how she’s changed since meeting Bell and the others and Wiene had a similar scene that I liked. These past few volumes really have not had enough Lili. I hope to see more of her next volume.

It’ll be a while before I get to read volume 12, since I’ll be reading Sword Oratoria 7 & 8 and Familia Chronicle first (in the order of SO7 > FC > SO8) and that’s probably a good thing. Since I’m binging the series, I’m having a very different experience reading to people who read the volumes as they came out so a think a break will be good for me. I do hope to read SO7 soon though.

Next up is Majo no Tabitabi 2.

#Danmachi #is it wrong to try to pick up girls in a dungeon?#dungeon ni deai wo motomeru no wa machigatteiru darou ka #light novel #light novel review #fujino oomori #suzuhito yasuda #GA bunko #October 2019

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shazzeaslightnovels · 5 years ago

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Sword Oratoria 4

Author: Fujino Oomori

Illustrator: Kiyotaka Haimura

Label: GA Bunko

Release Date: 14 May 2015

The end of the first arc in the series and a bit of a mixed volume overall. The first half, which focuses on the events of Danmachi 3 with Ais training Bell felt like it dragged on for too long but it had some good scenes in it while the second half was fast-paced and was really exciting and interesting and is definitely the better part of the volume.

English Release:

This series is currently being released in English by Yen-Press under the title of Is it Wrong to Try to Pick up Girls in a Dungeon? On the Side: Sword Oratoria

Story:

Rather than chapters, this volume is broken into two parts (apparently, the English version translated them as “Prior Chapter” and “Rear Chapter” but that translation sounds weird to me so I’ll just be calling them “First Part” and “Second Part”). This made the volume a bit tedious to read at times as it was hard to find a good stopping point, especially in the Second Part which was really fast-paced.

The First Part is focused on the events of Danmachi 3 with Ais training Bell with some new content thrown. This part was kind of a slodge to read through since we’d already seen a lot the stuff with Ais and Bell back in Danmachi. It’s possible that this is just an issue because I’m reading the two volumes only a month apart where they were initially released years apart. The new stuff in this volume that focuses on the other members of Loki Familia were good though and I especially enjoyed the scenes with Lefiya and Filvis. Overall, I felt that this part could have been cut down quite a bit. I don’t think it needed to take up half the volume.

But the second part is where the story really begins. It’s really fast-paced and exciting and interesting. It’s been a while since with since we’ve seen just how merciless the dungeon is and this was a good reminder. The climactic fight was particularly exciting and had a lot of great character moments.

I’ve said before that I prefer it when the fights in Danmachi are more about personal battles rather than being really big ones but I don’t think that way in Sword Oratoria and part of that is because these are experienced adventurers. Their adventures have to be big because they’re a big guild with four level 6 adventurers.

Character:

The character that stood out to me the most this volume was Finn. He didn't really have much screen time but his moments really make it clear why he is the leader of Loki Familia. Gareth also stood out. Like Riveria and Finn, he's a level 6 but he's rarely mentioned in the same breath as them by other characters when it comes to power but this volume showed that he is just as capable as them.

Of course, I loved all of the Lefiya scenes, particularly her interactions with Bell, Filvis and Tione. I love that she has such a different dynamic with everyone and I think that's one of Oomori's biggest strengths as a writer: they’re able to create a world full of interesting characters and none them are ever too similar to each other and each have their own different relationships with each other.

This volume introduces Tsubaki, a level 5 blacksmith who I really like and would like to see more of. Her scenes with Ais were particularly interesting.

Adaptation Notes:

Volume 4 is covered in the last 4 episodes of the anime. I think they adapted it well but, like the other volumes, it’s clear that they didn’t have the budget to adapt the fight to be as big as it is in the light novel and manga but they did get across how terrifying the enemy was. In general, I’d say that the animes’ biggest issue is that they just didn’t have the budget to adapt the fights as well as they could have but I think they did the best they could with the budget they had to work with. One thing I haven't mentioned about the anime yet is the music so allow me to rectify that now. It's amazing. It really gives this feeling of being on an adventure. And it’s not just the soundtrack or the voice acting but even the sound effects are really good and give off all the right effects. Overall, I don’t think the anime is as epic as the light novel or manga but I think that it works really well as it’s own anime. I’d recommend it.

The manga keeps surprising me in all the best ways. There aren’t many differences to the light novel this time but the changes that were made were really for the best. In particular, I thought that the First Part of the volume worked far better in the manga as opposed to the light novel. I really like the manga overall and I would definitely recommend it, even if you have read the light novel. As far as I know, the manga hasn’t finished adapting the fifth volume yet so I likely won’t talk about it in my review of that volume but I will be keeping up with the manga and I may talk about it more in the future.

I’ll be reading Danmachi 8 soon but next up will be the first volume of Watashi, Nouryoku wa Heikinchi de tte Itta yo ne!

#Danmachi #Sword Oratoria #Light novel #light novel review #fujino oomori #Kiyotaka Haimura #ga bunko #September 2019

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