Mietemasu yo! Aizawa-san - Vol. 4 Ch. 20 - An Unrocked Boat
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I adore how the most foreboding chapter of this manga is purely buildup to Michi getting kissed by a genki gyaru.
Masaki's definitely the girl from Honda's photo in the volume 2 extras.
Either Masaki really, REALLY knows her type or she knew Michi in the pre-amnesia days - she was at their school at the start of the year which is an odd detail. And despite all the red flags even Honda's shocked how fast Masaki jumped Michi. But Masaki didn't seem to recognize Michi at first in the selfie. Though if she does know her, that's the perfect chance for Michi to explore her missing memories without getting wiped again since it has nothing to do with Aizawa.
It's also the perfect case for Michi to admit she's surrounded by lesbians and that call is coming from inside the house.
There's tons of structure set up this chapter: It's a short while until goodbye at winter break, Masaki's surely coming back to school and Aizawa won't take that well, then two weeks of yuri divorce, something big happens at the New Years' concert, then reunion. Somewhere in there Michi is going to have to break into school and meet Aizawa. And bear in mind Christmas is a romantic holiday in Japan. That's like 5 emotional climaxes and probably the next 2 volumes worth of plot.
But that's a lot of thinking ahead when I can't imagine what the hell is about to happen in Honda's room.
blah:
It's an uncommon understanding that irony is key to both horror and comedy. Both rely heavily on building and subverting expectations, following similar patterns of raising, relieving, maintaining tension to banked and spent. It's this commonality that makes horror comedy like chocolate + peanut butter. In fact you'd be hard pressed finding a horror movie that doesn't throw in moments of even black comedy to subvert irony in the opposite direction.
And I think Dorothy does a masterful job utilizing irony for both purposes; this chapter being a prime example. Honda acting weirdly weird despite normally being the weirdest character leaves the whole thing uneasy, the strange inversion with Michi using the outgoing fonts while Honda has the shaky stuttering ones, leaping in and out of Honda's usual style of rapid-fire oddball jokes solely to stall and avoid the inescapable elephant in the room. Building up this feeling of dread. We know something's wrong that Michi is savvy enough to pick up on but not identify. Dramatic irony, when you're screaming at the TV hoping the dumbass protagonist realizes they shouldn't go in the house. The unrocked boat that should have been.
The foreboding balanced by a constant undercurrent that Masaki represents a romantic danger, (some small comfort to the yuri-loving audience who are still likely fearing the inevitably rivalry.) while subverting Michi's hopes of finding refuge in friendship. She doesn't see it precisely because she's blinding herself to love. Meanwhile Aizawa notices immediately. Yet this further subverts the typical impotent threat of a third wheel: Masaki is unintentionally raising the stakes for Aizawa's unstable unlife. The tension doesn't let up with the reveal - there's a dread for what happens when Aizawa finds out; you know someone's going to get hurt and not just in the feelings and Michi's at fault.
But indeed there's almost always a sense of culpability in horror. The protagonist always gets chances to dodge danger and ignores them. It's part of the cautionary tale, tied here into self-discovery. Undoubtedly, Masaki is already scary as a horror monster because we know she's a time bomb for Aizawa. And Michi's brought it on herself. Not that Reona doesn't share the blame. That shot of her in the elevator pre-emptively apologizing is almost comically unnerving, maybe the most bad vibes panel in the entire manga, followed by a hard cut to superdeformed chibis as she dodges the subject a final time.
This chapter's so uniquely Aizawa-san's style I love it. It's wild that all this tension is spent introducing a simple love triangle. That Masaki's double-page intro somehow fits in the same category as the rest of the full-page jumpscares - very deliberately playing off multiple layers of tension. The general sense of danger, the horror of an impending love rival, and the comedic irony of subverting both aspects with each other; this would never work in a non-horror romantic comedy. It's a testament to the manga's strength synthesizing all 3 genres.
Even if people are about to have some strong opinions on love triangles.
And I think Dorothy does a masterful job utilizing irony for both purposes; this chapter being a prime example. Honda acting weirdly weird despite normally being the weirdest character leaves the whole thing uneasy, the strange inversion with Michi using the outgoing fonts while Honda has the shaky stuttering ones, leaping in and out of Honda's usual style of rapid-fire oddball jokes solely to stall and avoid the inescapable elephant in the room. Building up this feeling of dread. We know something's wrong that Michi is savvy enough to pick up on but not identify. Dramatic irony, when you're screaming at the TV hoping the dumbass protagonist realizes they shouldn't go in the house. The unrocked boat that should have been.
The foreboding balanced by a constant undercurrent that Masaki represents a romantic danger, (some small comfort to the yuri-loving audience who are still likely fearing the inevitably rivalry.) while subverting Michi's hopes of finding refuge in friendship. She doesn't see it precisely because she's blinding herself to love. Meanwhile Aizawa notices immediately. Yet this further subverts the typical impotent threat of a third wheel: Masaki is unintentionally raising the stakes for Aizawa's unstable unlife. The tension doesn't let up with the reveal - there's a dread for what happens when Aizawa finds out; you know someone's going to get hurt and not just in the feelings and Michi's at fault.
But indeed there's almost always a sense of culpability in horror. The protagonist always gets chances to dodge danger and ignores them. It's part of the cautionary tale, tied here into self-discovery. Undoubtedly, Masaki is already scary as a horror monster because we know she's a time bomb for Aizawa. And Michi's brought it on herself. Not that Reona doesn't share the blame. That shot of her in the elevator pre-emptively apologizing is almost comically unnerving, maybe the most bad vibes panel in the entire manga, followed by a hard cut to superdeformed chibis as she dodges the subject a final time.
This chapter's so uniquely Aizawa-san's style I love it. It's wild that all this tension is spent introducing a simple love triangle. That Masaki's double-page intro somehow fits in the same category as the rest of the full-page jumpscares - very deliberately playing off multiple layers of tension. The general sense of danger, the horror of an impending love rival, and the comedic irony of subverting both aspects with each other; this would never work in a non-horror romantic comedy. It's a testament to the manga's strength synthesizing all 3 genres.
Even if people are about to have some strong opinions on love triangles.
Masaki's definitely the girl from Honda's photo in the volume 2 extras.
Either Masaki really, REALLY knows her type or she knew Michi in the pre-amnesia days - she was at their school at the start of the year which is an odd detail. And despite all the red flags even Honda's shocked how fast Masaki jumped Michi. But Masaki didn't seem to recognize Michi at first in the selfie. Though if she does know her, that's the perfect chance for Michi to explore her missing memories without getting wiped again since it has nothing to do with Aizawa.
It's also the perfect case for Michi to admit she's surrounded by lesbians and that call is coming from inside the house.
There's tons of structure set up this chapter: It's a short while until goodbye at winter break, Masaki's surely coming back to school and Aizawa won't take that well, then two weeks of yuri divorce, something big happens at the New Years' concert, then reunion. Somewhere in there Michi is going to have to break into school and meet Aizawa. And bear in mind Christmas is a romantic holiday in Japan. That's like 5 emotional climaxes and probably the next 2 volumes worth of plot.
But that's a lot of thinking ahead when I can't imagine what the hell is about to happen in Honda's room.
blah:
- Ange being Michi's 2nd favorite is definitely setup for Michi to confront whatever's possessing her.
- I keep confusing myself so for everyone else's sake, Honda never said Masaki went to a different school. That was something Kasumi assumed and stuck. Honda didn't bother correcting but did get all awkward when it was brought up.
- Dorothy says Masaki was originally meant to appear in volume 1, back when she thought she needed to rush the story. Masaki probably is a pivotal character.
- High school isn't compulsory in Japan so someone who skipped middle school could still test to get in.
- Imaginary Honda #2 was super Osakan which somehow translates to Canadian? I don't make the rules.
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Michi's so used to dealing with the supernatural that she let her guard down against the most powerful natural force in the universe: the innate attraction that gyaru feel towards introverted otaku.
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Can author just let MC just talk to Aizawa already. I tired of this pretend game.
Man, I want to enjoy this manga. But it keep baiting but go back to status quo again and still never bring up the elephant in the room. What i waiting for: she and Aizawa finally interreact, is no where in sign. and now it is wander around to new subplot with new girl like some harem manga for some reason.
Man, I want to enjoy this manga. But it keep baiting but go back to status quo again and still never bring up the elephant in the room. What i waiting for: she and Aizawa finally interreact, is no where in sign. and now it is wander around to new subplot with new girl like some harem manga for some reason.
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Thank you for the tl, as always!
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The plot thickens in more than one way. I can't wait to re-read this series and to see how much stuff flew through my head
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Oh. My. God.
An update.
Thank you translator!
An update.
Thank you translator!
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Masaki is a gyaru
Honamin's character is being encroached upon!!
At least we don't have Arséne Lupimasaki or Baseball clubMasaki so Aizawa still has a monopoly there!
Honamin's character is being encroached upon!!
At least we don't have Arséne Lupimasaki or Baseball clubMasaki so Aizawa still has a monopoly there!
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Konami keep transforming in this one
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thanks for the TL!
i wonder where this will take us. more info about the pre-amnesia michi perhaps?
i wonder where this will take us. more info about the pre-amnesia michi perhaps?
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All the Honami thieves etc were super cute
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I mean...Aizawa is a ghost. There's...not really a future there.
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Dad is very noisy as usual lol.
Let me guess... This masaki chick is also ghost buster. Already have 2 so no surprise if author add another one. And love her beauty mark.
Let me guess... This masaki chick is also ghost buster. Already have 2 so no surprise if author add another one. And love her beauty mark.
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