Or: On Late Discoveries
On the whole, the fellows at Yen Press are fairly decent chaps. They have recently completed their occidental publication of all Haruhi Suzumiya light novels written to date. Book Girl is silly but fun, and is set to similarly conclude it’s main story early in the new year. Nor can we forget their publication of Spice and Wolf, A Bride’s Story, Bunny Drop, Kobato, Olympos, Inu x Boku SS, Thermae Romae, or Yotsuba.
Aside those mentioned above lies a style of manga one would not immediately assume anyone in their right mind would publish on this side of the world. Yet they have, and I’m immensely happy they do.
‘A voice, fleeting, to the sky, the top of the sky, that’ll someday vanish…’
Hidamari Sketch is primarily known for both its relaxed nature and Ume Aoki’s distinctive style. The series started out as a 4-koma, featured in the magazine Manga Time Kirara Carat, aimed at the seinen demographic, and could arguably be considered emblematic of the format’s light comedic air. Yet, as I have waxed lyrical on before, not all 4-koma need amount to soothing fluff.
At a glance, the series might appear to be an example of an ensemble cast, especially if one first approaches the series via the anachronistically-ordered anime. Yet, as one soon realises, the series is essentially a coming of age story centred about the character Yuno, and so we follow our curiously-shaped-hair-clip-wearing heroine on her journey through her final three years of school.
For the first three volumes we become accustomed to the cast and, aside from a story about a visiting stray cat, all seems happy and carefree. In the fourth volume, however, a slight shadow is cast. A hint of things yet to come.