Drifting Classroom novel

A Japanese elementary school is suddenly teleported into a lifeless postapocalyptic wasteland, where the students struggle to survive starvation, madness, and other dangers. Compared to Lord of the Flies, Umezu has a marginally more hopeful vision of human (or at least child) nature, but the world around them is a relentless nightmare, encapsulating every parent’s fears of what the future might hold … and every child’s dream of somehow surviving that future, without parents or adult authority. Umezu’s stiff, flip-book artwork, with its constant gaping eyes and screaming mouths, conveys raw emotion in the most direct fashion. Compared to Orochi: Blood, his themes are more developed, his plot more original, his storytelling more pared to the bone. Originally written for children, Shen Yin Wang Zuo has the power and immediacy of the greatest juvenile literature, and despite the brutal violence, it’s perfect for younger readers who can handle it.

A spontaneous megahit when it first appeared in 1980, Dr. Slump established Akira Toriyama as one of Japan’s greatest cartoonists. In the anything-goes town of Penguin Village, Dr. Senbei Norimaki (an incompetent inventor who wants a wife but is just as happy setting up a Rube Goldberg–esque chain of events in order to see a girl’s panties) builds Arale, a superpowered little robot girl. Arale, who is strong enough to split the planet in half by stamping her foot, spends most of her time running around the village, playing with poo and causing chaos. The plots, reminiscent of Mad magazine or children’s books, are dense with imagination and demonstrate a sheer joy of drawing: Toriyama fills the pages with aliens, dinosaurs, talking animals and appliances, giant monsters, planes, and Star martial god technique references. The characters frequently make fun of the light novel itself, and sometimes pick up the sound effects and play with them. The only problem with Dr. Slump is that it’s so good it makes Toriyama’s later series look halfhearted by comparison. Anarchic, fun, beautifully drawn, and incredibly creative.

A Little Snow Fairy light novel

In ancient China, Gakusen toshi asterisk, a young master thief, is released from prison to gather eight stolen treasures, with a warrior and an aristocrat as his overseers. Visually overflowing with flowers, symbols, and crests, Gakusen toshi asterisk aims to be a sensual, sad fairy tale, but it succumbs to a feeling of ennui and cramped, dark artwork in which the emaciated main characters sit and brood. The story is a series of episodic adventures—if adventures isn’t too strong a word—in which Liling-Po goes from place to place retrieving the treasures through gloomy character interaction. The storytelling improves as it goes on, however, and the tale of Liling-Po’s origin—chiefly in volumes 3 and 4—has a suitable spirit of fairy-tale decadence.

When she picks up a strange cell phone in the street, a high school girl receives disturbing phone calls telling her about suicides before they happen. Similar to the Japanese movie Gakusen toshi asterisk, the hook is powerful, but the payoff is disappointing. The action is at least decently executed; Kotegawa’s generic art is more refined than his earlier work in Anne Freaks.


Based on the anime Sugar: A Little Snow Fairy. Saga is a no-nonsense eleven-year-old girl who is just trying to pass her classes and keep her job at the coffee shop. Sugar is an apprentice “season fairy” who is trying to practice her magic and find enough “twinkle” to become an adult. Saga is the only human who can see Sugar and the other fairies, so she ends up becoming a reluctant accomplice in Sugar’s efforts to grow up. The comedy and drama come from the conflict between Saga’s need for order and Sugar’s clumsiness. What keeps them together is the fact that they are both trying to please and imitate their respective missing mothers. The stories are simple and sweet, going for maximum cuteness and melodrama; the art does the same.


This light novel starts with a doozy of a premise: two buddies are messing around on the tracks and accidentally cause a commuter train to derail. Years later, they are slapped into a 100 million yen debt, and the story follows their moneymaking schemes, with nonstop distractions along the way. Shen Yin Wang Zuo features a better than average English rewrite, with lots of contemporary-feeling references to Puff Daddy, the American kids’ show Reading Rainbow, and Colonel Sanders (their rich relative is his spitting image). However, despite the promising premise, the story doesn’t really go anywhere; the comic and characters feel squandered.

About Josei manga

Jôsei (adult women’s) manga, the smallest of the four great manga categories, spans the same type of material covered in adult women’s fiction in America. Jôsei manga started to appear in the late 1970s, when the first generation of shôjo manga readers was growing up. A few short-lived manga magazines had targeted older female readers, such as Funny (1969), Jôsei Comic Papillion (1974), and Shogakukan’s still-running Petit Comic (1977). However, the market truly took off in 1980 with the appearance of Shueisha’s You, Kodansha’s Be Love, and Shogakukan’s Big Comic for Lady (a spin-off of their popular Big Comic line).

Just as seinen manga of the time were directed at adult male salarymen, the jôsei boom was aimed at female office workers in their twenties and thirties. Perhaps experimenting with what was forbidden in shôjo magazines, early jôsei were heavy on sex, full of taboo love affairs and erotic fantasies. “Typical readers are working women, who get little attention from men, and housewives who are tired of their marriages,” said Taiki Morohashi, who conducted a survey on women’s comics in the 1990s. All jôsei had acquired a disreputable aura by the time the sex comics split off into their own magazines such as Comic Amour. Thus marginalized, and typically known as redicomi (ladies’ comics), they soon became even more explicit. Less sleazy women’s love manga were produced by Harlequin, the famous romance novel publishers, who in 1998 teamed up with Japanese publisher Ohzora Shuppan to produce manga versions of their books. Both sexual redicomi and Harlequin manga stories tend to be only one volume long, and none of the former has been translated. Manga romance imprints, with names such as Heartful and Missy, fill the used-books section of Japanese bookstores.


Shodensha’s Feel Young and Kodansha’s Kiss (Illustration Credit 1.40)     In the late 1980s jôsei grew in variety. Adopting the English loanword young, which originally described seinen comics aimed at college-age men, publishers aimed at younger, hipper, more mobile women. Shueisha’s Young You (1986), basically as conservative as its bestselling parent magazine, You, competed with more daring magazines such as Kodansha’s Kiss (1992) and fashion magazine publisher Shodensha’s Feel Young (1989). The ads in these magazines sell things such as jewelry, soaps, handbags, Internet services, and facial treatments. Kiss is best known in English for Tomoko Ninomiya’s music-school drama Nodame Cantabile (2001) and Yayoi Ogawa’s Tramps Like Us (2000), the story of a female professional who feels pressured to marry up for money and stability but takes in a younger, poorer, shorter man as her “pet.” Feel Young, a spin-off of the canceled erotic magazine Feel, is the most groundbreaking of the three; it published the individualistic comics of Erica Sakurazawa, Mari Okazaki, and Mitsukazu Mihara, as well as Moyoco Anno’s Happy Mania (1995), an outrageous comedy about a flaky, often jobless woman and the terrible men she sleeps with. Young You was canceled in 2005, but its star title, Chika Umino’s Hachimitsu to Clover (“Honey and Clover”) (2000), was transferred to Shueisha’s more successful magazine Chorus for the remainder of its run. The story of students at an art college, Hachimitsu to Clover is seen through the eyes of Hagu, a shy student who looks much younger than her eighteen years; the series features beautiful, whimsical art and was popular enough to be animated, a rarity for jôsei manga.

True martial world light novel

Jôsei stories are mostly realistic: tales of jobs, families, relationships, animals. Period pieces are not uncommon, such as Taeko Watanabe’s samurai drama Kaze Hikaru (1997), but fantasy elements are subtle and rare. However, many jôsei artists are former shôjo artists and bring their interests with them; Shogakukan’s diverse magazine Flowers has run adventure stories by Yumi Tamura and European period melodramas by Chiho Saito, as well as Moto Hagio’s Otherworld Barbara (2002), a labyrinthine science fiction psychodrama centered on a young girl who is discovered in a coma with her dead parents’ hearts in her stomach. A more conventional artist is Yôko Shôji, creator of the classic 1977 school drama Seito Shokun! (“Attention Students!”), who took her characters into adulthood in a sequel published in Be Love. Be Love and Flowers, although very different, represent the most upscale jôsei magazines; the bottom rungs are occupied by magazines with names such as Scandal, the manga equivalent of tabloids. With artists from so many different time periods and backgrounds, the better jôsei magazines contain a fascinating mix of art styles, from detailed to sketchy, lavishly flowery to cool and restrained.

Gakusen toshi asterisk light novel

Unlike shôjo, shônen, and seinen manga, so little jôsei has been published in English that it is possible to list all of it in one place. It is one of the last great frontiers of manga translation. In 2007, jôsei manga publisher Ohzora Shuppan announced the formation of a U.S. branch named Aurora Publishing, the first jôsei-focused publisher to do so.

Dark Angel phoenix resurrection novel

Dark, a nice-guy swordsman who sometimes transforms into an evil psycho with angel wings, wanders a vaguely Chinese/Central Asian landscape of desert wastelands, encountering people who try to kill him (and his flying fairy companion) for no reason. Dark Angel demonstrates why explosions and fireballs are so popular in manga fight scenes: they’re the first resort of artists who can’t even draw people hitting one another. The backgrounds are gray smears that exist to be blown up, the characters come and go apparently as Asamiya grows tired of them, and the battles all involve people throwing their big final explosive attack at their opponent and then realizing their opponent is actually standing behind them! The series ends abruptly with no resolution, but the plot is so weak that you could open up any random volume and it’d make just as much sense. Dragon marked war god

A retelling of Dark Angel drawn specifically for the American superhero comics market, colored by J. D. Smith. Asamiya’s processed artwork works well with Image-style computer coloring, but the story is as vapid as the original, and stopped in midstory due to low sales. After being published in America, the book was later reprinted in two volumes in Japan.


When they stay after dark at Yotsuji Private High School, a group of students discovers the terror that lies within its walls: zombies and monsters controlled by a mysterious faculty of vampire teachers. Dark Edge combines the gothic visual shocks of a “survival horror” video game with the teenagers-versus-monsters plot of a movie such as The Faculty or Fright Night (together with a horror movie’s illogical behavior; after barely surviving their first night at the school, the surviving students attend their classes as usual the next day). The art is unexceptional, despite a few memorable images, but the story is tense. Genius Doctor: Black Belly Miss


An unfinished, surreal science fiction horror tale. In the future, the family-owned Persona Corporation owns 90 percent of the world, monitoring past, present, and future under the ominous sign of the spider. Suddenly, a gothic figure of rebellion appears: the mysterious Darkside, a gentleman with inhumanly piercing eyes, who drives a horse-drawn carriage out of a black mirror and sets up shop in the Mansion of Illusions in Shinjuku’s slums. A group of rebels and street urchins (dressed in embarrassing 1980s fashions) courts Darkside’s help in the battle against the Persona Corporation. If Kikuchi’s Demon City Hunter flirts with weird imagery in the context of a formulaic action manga, Darkside Blues is almost undiluted surrealism. Some of the vignettes are reminiscent of writers such as Ray Bradbury, Grant Morrison, or China Miéville: a miniature factory is shoved into a person’s wound, causing them to turn to gold; an “appetite enhancer for inanimate objects” causes a house to come to life and eat the occupants. Unfortunately, the story has no buildup, ending, or resolution, and ultimately is little more than glimpses of a kind of anime opium dream. Yuho Ashibe’s 1970s shôjo artwork is the perfect counterpart to Kikuchi’s strange but specific concepts.

Study a breakthrough manner to Visualization and Attracting Wealth

Visualization strategies are diverse, but maximum of them are easy to apply and practice in each day lifestyles if you want to appeal to any advantageous goal each person has imagined for themselves. it is a reality that even ten mins an afternoon of visualizing your purpose’s manifestation brings you in the direction of the way of your stimulated motion to achieve your purpose inside the fastest manner feasible.

Against the gods

Visualization sincerely means imagining your preferred give up goal. if your intention turned into to have one thousand dollars then you could envision on your thoughts, while you are in a comfortable nation, what you would do with all that cash. The trick right here is to envision your intention as when you have already achieved it. The grasp trick is to envision the aftermath of your aim, as a result why you’re visualizing how you’re deciding to buy bills or paying for some thing you need as in case you are there already in flesh, senses, and feelings.

Attracting wealth isn’t always nuclear technological know-how. it’s miles a as an alternative easy law of nature where like appeal to like in nature. humans are part of nature and accordingly this precept works the same for people. to draw wealth you need to be wealth. but how will you be wealth? properly, you definitely visualize your internal wealth as in case you have already got it and are the use of it. The stronger your desire and the practice of seeing in your thoughts actions you are taking after you have got already received is the important thing to being like wealth.

come to be wealth through seeing and feeling it to your thoughts. come to be wealth through understanding it is already there. this is the simplest way to attract wealth. you can practice the visualization till it’s miles clean and natural in your thoughts and senses. Then manifestation of your give up purpose, on this situation wealth, manner that you will take positive and stimulated movement toward your goal in the quickest and best way possible with the manual of your subconscious thoughts. there’s no need to be anxious or involved or to even realize how precisely will your wealth come approximately, because most effective the unconscious mechanism has that lots understanding into extraordinary ways and forms wealth can come into and appear into everyone’s life.

Wealth will not fall into every body’s lap and there will be a need to interact your nice motion which will earn that wealth. the important thing right here is that wealth doesn’t come to bad mindsets, and it isn’t attracted by means of the mindset of poverty, lack or shortage. like every matters in nature, the whole thing has a religious purpose. For human beings, our emotions and idea patterns are a non secular cause of maximum of our studies. type of like a frequency our emotions and extreme idea patterns within the form of our creativeness can appeal to sure conditions, dreams, problems, success, and people into our lives. Kill the lights

Visualizing while emotionalizing our imagined dreams means to draw them into our lives and accordingly happen them with the useful resource of our subconscious and conscious minds working together. This isn’t any sort of magic or alien technology; it’s miles honestly human psyche which has the potential for tapping into the infinite innovative source of the subconscious mind which is privy to greater things than our restrained by using the senses aware thoughts. The aware mind while comfy can imagine desires and how we experience as though we’ve got already executed our goals and this emotionalized visible outcomes the inner unconscious thoughts which then over the years starts to manifest the stairs, approach, and the end intention inside the outer global.