The end of summer is stuck on repeat. The beach is busy. Ice cream is on sale. The parents are away. And a fastidiously dorky guy and a not-quite-insecure girl meet at the park around midday. THE LONG SUMMER OF AUGUST 31 begins.
The young Mr. Suzuki is wonderfully droll. He thinks pragmatically, looks things up online if he isn't sure what it is (or what it means), and when he's asked an honest question, he always provides an honest answer.
The young Ms. Takagi is cute, amenable, and on the verge of precocious. She speaks her mind, acts on whims but isn't averse to thinking things through, and when asked an honest question, she laughs, dithers, and shrugs her shoulders, before ultimately providing an honest answer.
In THE LONG SUMMER OF AUGUST 31, these two teenagers are stuck in a time loop at the farthest edge of summertime. This manga is a low-key romantic comedy whose characters trust one another with the blithe opportunism that comes with the post-adolescent realization that life only matters if you want it to. Ice cream? Movies? Date nights?
Does it matter that Suzuki is worried about losing his virginity? Not really, but Suzuki cannot bear the burden of learning that physical attraction and physical intimacy matter so much to one's youth while he's yet to experience any of it with any grain of sincerity. Does it matter that Takagi harbors an eminent and enduring fear of loneliness? Not as much as it does that Takagi's initial dismissal of her new friend speaks less to gendered arrogance than to a beckoning void of individuality on display every time she cooks, every time she watches a movie, every time she dresses up nice.
Readers keen on the humor of two awkward teenagers learning to get along, and learning to fall in love, one time-loop day at a time, will enjoy this comic. Other readers, keen on the flickering synapses of young love and the gaps they fill, will likewise enjoy this manga. THE LONG SUMMER OF AUGUST 31 successfully wields deadpan humor, abrupt comedic timing, physical comedy, and strong character presence to knit these two together.
The book's art style also carries a delightfully modest aesthetic. For example, the character design for Takagi (Kana) is strikingly similar to many protagonists from the works of the late Satoshi Kon: round eyes, short-bob hair style, and a kind, smooth, and feminine jawline. Meanwhile, Suzuki (Takaya) is hilariously upright (stiff), his glasses lend him an air of accidental sophistication, and his occasional impulsiveness makes him even more gauche than he already was (e.g., holding his breath when visiting someone else's house).
Time-loop stories rarely deliver a mote of originality or cleverness beyond their premise, but on occasion, a brand of humor or a memorable character can force a new title into the fray. THE LONG SUMMER OF AUGUST 31 isn't a spectacular find, but it's reliably funny and genuinely well-written. In the long run, the author might possibly angle to query what happens when all conversation, between Kana and Takaya, has run its course. If their relationship becomes real, in this realm of time-space where nothing else is real, what happens then?