Boogiepop Doesn't Laugh, or Boogiepop and Others, is a Japanese "light novel" written by Kadono Kouhei and published in 1998. It's the second book I've read this year as a challenge to read 12 books in 2024. I first read this book in the English edition, translated by the brilliant Andrew Cunningham. This year, I read it in the Korean paperback edition, published in October 2002. The year I was born, funnily enough!
Statistics time: I read this book for a total of 219:49, or roughly 3 hours and a half. It's a tiny paperback that's roughly 260 pages long, but I've also read this particular novel dozens of times before, so it was a quick read. I started reading it in 3/8, but I only actually read for a total of 4 days during that.
Boogiepop is an exceptional work of literary value. It's an immensely influential work, having created the "light novel" genre, and it's the reason why so many Japanese young adult media contains magical realism. Series like the Monogatari series by Nisio Isin, Fate/stay night by Nasu Kinoko, Denpa Shoujo to Seishun Otoko by Iruma Hitoma, and even the Persona franchise were inspired at least somewhat by Boogiepop, However, Boogiepop itself is hardly a household name, and despite receiving two anime adaptations, it's not exactly a massively famous novel series.
I would imagine this is mostly because Boogiepop itself is an extremely bizarre series. And it really is bizarre in that purest sense of that word; after all, the primary influence for Boogiepop itself is, of course, JoJo's Bizarre Adventure by Hirohiko Araki. Many similarities can be seen; from the magical realism, the scientific approach to fantasy combat, and the changing roster of protagonists from novel to novel. Though, while JoJo has found massive success, Boogiepop has never reached such a height. I chalk this up to the fact that Boogiepop is not only bizarre but rather inaccessible by design.
The title "Boogiepop" itself, according to the writer, comes from this desire to write a story that contained both "weirdness (boogie)" and "pop appeal". According to the afterword to the second novel, Boogiepop Returns: VS Imaginator, after many rejections from publishers, he turned his sights into reading the popular pulp fiction of his era; researching them to figure out what his books lacked. The result was Boogiepop; a book which combines popular tropes such as magical realism, man-eating monsters, and secret superheroes with the bizarre literary techniques that Kadono wanted to employ.
A common criticism of Boogiepop is that it is convoluted and difficult to understand. I don't necessarily disagree, but if you actually try to piece things together, the core mystery and timeline of events of this book is not a complicated one. But Boogiepop utilizes several interesting writing techniques, such as multiple perspective shifts, non-chronological chapter order, and even musical allusions.
The brilliance of Boogiepop which makes it an excellently constructed work of literary fiction is that none of these feel like a gimmick. Each chapter has a new narrator, who is only provided with certain pieces of information which means none of them ever figure out the full truth. Instead, each character goes through an arc where they realize something about their life or themselves, making the chapters feel like their own satisfying standalone stories as well. They also ultimately reinforce the theme of "normal vs. abnormal" and "ordinary humans, not supernatural entities, have to change the world".
In Chapter 1, "Romantic Warrior", Takeda Keiji encounters Boogiepop, who appears as some sort of alternate personality of his girlfriend Miyashita Touka. During their several conversations, Takeda begins to admire Boogiepop, for his unrelenting tenacity and desire to "save the world". Takeda himself is an aspiring designer, who has decided to not go to university in order to pursue his dream. His anxieties explode when Boogiepop leaves, which causes him to accuse the "boy" (Though Touka is a girl, Boogiepop is consistently identified as a male personality) of not having saved the world at all. However, Boogiepop tells him that it is not entities like him which can do that; normal people like Takeda has to.
"Return of the Fire Witch" explores Suema, a girl who is obsessed with criminal psychology because she was almost killed by a serial killer in the past. She encounters Kirima Nagi, a truant who insists that "normal" people not get involved with her. Suema discovers that Nagi was the one who saved Suema in the past; however, she denies having done so, and Suema is not able to apologize to her. "No One Live Forever" introduces the antagonists: the man-eating Manticore and the sociopath Saotome Masami.
"I Wish U Heaven" is my favourite chapter, despite being the shortest chapter that is the least related to the rest of the book. It centers on Kimura Akio, 2 years after the events of the novel, who heads to his old high school to find out what happened to Kamikishiro Naoko, a minor character introduced early in the book who befriended and sheltered the shapeshifter entity Echoes, and was killed by the Manticore. The chapter ends with him finding a mummified hand in the school storage, as he becomes horrified and wonders what happened 2 years ago. This character, who lacks all of the information the reader knows, embodies the terrifying mystery behind this narrative; this character who might as well be an extra approaches slightly towards the truth, only to face the existential terror behind the entire story.
The final chapter, "Heartbreaker", is mostly a simple conclusion to what truly happened. It centers on Niitoki Kei, who has a particular type of OCD where she cannot stand letting something be "uncertain". I think this is, again, alluding to the theme of "an unbearable, terrifying mystery" - in the end, even Kei is not able to understand anything in the finale, and she is unable to face Miyashita, (who she lost her first love to) betraying her principle of always making things clear. Boogiepop is not necessarily interested in telling you the whole truth, but rather utilizes that sense of mystery to imply an even more terrifying truth lurking in the background.
While Boogiepop Doesn't Laugh has evil shapeshifters and superhuman caped heroes, it is ultimately the "normal" humans who save the day. The shapeshifting Echoes learns to love humanity through the compassion shown by Kamikishiro, and decides to take humanity's side in order to defeat the Manticore. The Manticore herself is eventually killed not by Boogiepop or Echoes but by Tanaka Shiro, who was Kamikishiro's boyfriend. It is the combined efforts of these powerless average teenagers who eventually save the world, just as Boogiepop said to Takeda.
Despite the fantastical elements of the story, Boogiepop is ultimately about a group of adolescent youths finding their place in life, and unintentionally managing to save the world from certain doom. It uses these magical realism plotlines and mysteries to explore how teens go through identity development and how they learn to navigate themselves in this world. I would say most of all else, Boogiepop Doesn't Laugh is a coming-of-age novel. That might be why it is called Boogiepop and Others in English, officially; Boogiepop is simply the observer in the novel, but the "others" are the real heroes of the story.
This is the end of the review, but something I wanted to quickly mention, again is the incredible English translation of Boogiepop the first novel. Andrew Cunningham is a cool guy who is still a Boogiepop fan to this day. His "translator's notes" to Boogiepop and Others is actually one of my favourite parts about that book, and provides a lot of insight into how Japanese-English translaton works. Highly recommended you read that part too after you're done with the story!