Ajiichi has been good at not belaboring dramatic arcs so far, so I'm not worried about that. My hope is she puts a good twist on this old yuri trope, e.g. having Akio turn out to be gay, and end up helping Kurokawa sort out her feelings for Fujishiro.
As far as chapter 14 goes, I was hoping this Usshi person would be ace. I guess she still could be but the jealousy with the band dude made it seem like she wasn't going to wind up ace after all. The heart to heart with Miwa was definitely cute but...
It seemed like jealousy in the moment. But during her discussion with Miwa, Usshi's explanation leaned much more toward her being strongly repulsed by the idea of having to take part in a heteronormative relationship.
Not conclusive evidence that she's ace, but it leaves that door very much open (along with many other doors).
That doesn't seem accurate. For starters, multiple authors worked under one name isn't that unusual (e.g. Mochi Au Lait). Then there's the fact that both members of Nico Tanigawa (Watamote's two authors) worked on all three of their series together: Watamote, Number Girl, and Fake Literature Girl.
According to interviews of the authors, Ikko, the male author, writes and Niko, the female author, draws; with some overlap between the two's roles. From what I've gleaned, Ikko is responsible for most of the story and characterization, and consults Niko on how to write believable high school girls.
I suspect Niko is a raging lesbian, either closeted or latent, and her homosexuality has been gradually seeping into Tomoko's characterization since the beginning of the manga. Either discussing it with Niko directly, or picking up on it on his own, Ikko eventually began working the "Tomoko is into girls" angle into the story explicitly. Their audience responded well to it, so they've been rolling with it ever since.
That of course, is all speculation, made through a language barrier, at that.
Oof, 32 really isn't working for me. Like, there are three main ways I can see this is going:
Similar assumptions to mine.
I'd love it if Mikanuji actually committed this arc to Minami genuinely questioning her relationship with Iori and whether she should continue it. There's a lot of potential in things like Iori facing her own faults and trying to reform herself into a better partner for Minami, and Iori grappling with the idea that she gravitates towards unhealthy relationships. By itself, the opening of this arc is very strong.
But yeah, my confidence in Mikanuji's dramatic writing is kind of shot. It seems like this will just be a wistful "walk down memory lane to remind Minami of why she loves Iori" bit, without giving Minami's interpersonal relationship issues the gravity it deserves. I'd love to be wrong, of course.
Are my eyes playing a trick on me or that girl actually has elf ears?
I looked over that “gazing into the distance” panel like a dozen times trying to clarify whether the elf thing was figurative or literal and tbh I’m not seeing it.
May be a questionable rendition of "fairy", which IIRC is a reasonable translation of an old Chinese term for any number of supernatural or otherworldly women (think "celestial maiden") and apparently a somewhat archaic/poetic flattering epithet for a beautiful lady.
Or that's how it was used in one or two manhwas set in pseudo-Ancient Chinese settings I read elsewhere anyway. ¯\_(ツ)_/¯
If the intention is to express otherworldly beauty in English, then "angel" is a much better simile/metaphor than "elf" or "fairy."
BTW, is it me or did the middle school friend looked more shocked than disgusted when Izumi said that?
I don't think it's yuri goggles, there definitely were hints the other girl could be gay too.
I'm leaning towards this, too. Izumi's friend's face is on the reverse shot in the same page, and she has almost the same exact expression as Izumi. I'm reading that as both Izumi and her friend being afraid of confronting their attraction to each other, and thus both panicking to back away from it at the same time.
I don't sense any malice from the husband, either. Him sending Ayano's sister to the bar seems to be a genuine attempt to explain a situation he doesn't fully understand, himself.
Upon learning of the situation, Ayano's sister makes all the assumptions of a heterosexual affair. Seeing her make these assumptions, Ayano's husband gives her the address to the bar and the hint to Akari. I read it more as a "she should see for herself, and come to her own conclusions" sort of move. The cryptic instructions were designed to try and have the sister experience the same shock and confusion that he (and maybe even Ayano) experienced upon discovering Ayano's feelings for another woman.