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やはり俺の青春ラブコメはまちがっている。 #13
やはり俺の青春ラブコメはまちがっている。13
エンドロールが流れる前に
暦は雪解けの季節を迎えるが、新しい希望の芽吹きはまだ遠く感じられる3月。
それぞれの想いを言葉にし、行動しようとする雪乃、結衣、八幡。そして、それは今のままの関係でいることを終わらせることでもあって――。
雪ノ下雪乃は、最後まで見届けて欲しいと願った。由比ヶ浜結衣は、このままずっと一緒にいられたらと祈った。美しい夕日に時が止まればと願っても、落日を迎えなければ新しい日はやってこない。前に進むために諦めること、終止符を打つこと。悩むまもなく、巻き戻すことも出来ず、エンドロールは流れ始める……。
暦は雪解けの季節を迎えるが、新しい希望の芽吹きはまだ遠く感じられる3月。
それぞれの想いを言葉にし、行動しようとする雪乃、結衣、八幡。そして、それは今のままの関係でいることを終わらせることでもあって――。
雪ノ下雪乃は、最後まで見届けて欲しいと願った。由比ヶ浜結衣は、このままずっと一緒にいられたらと祈った。美しい夕日に時が止まればと願っても、落日を迎えなければ新しい日はやってこない。前に進むために諦めること、終止符を打つこと。悩むまもなく、巻き戻すことも出来ず、エンドロールは流れ始める……。
360 pages, Paperback
First published November 25, 2018
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Displaying 1 - 7 of 7 reviews
March 26, 2022
Ignoring the obvious in favor of marginal gains elsewhere. Enduring the awkward, the painful, and the indistinct with the blind courage that feeds more on unwieldy desire than it does a fissure of shared affection. Gazing into winter's setting sun, a breathless purplish-red, and sensing the shifting sands beneath one's feet. MY YOUTH ROMANTIC COMEDY. . .v13 documents what happens when the uncertainties (emotions) of youth are ruthlessly mocked, bundled up, and cast aside, for fear of what they would otherwise become.
The peculiar, somewhat terrifying, long-running narrative jest of the previous novel continues in the current volume: Hikigaya, Yukinoshita, and Yuigahama each acknowledge they've grown to rely on one another rather intimately. And yet, they never explicitly name this affection, beyond its tactical cognates. But they know it's there. And they know everyone else knows it's there. It's an open secret. But that's not the jest. Not really. The jest is that by ignoring the obvious and enduring the awkward, the characters routinely insinuate something deeper, more essential, and more valid is at play. But they never quite touch it. And because they never quite touch it, the cycle begins all over again.
MY YOUTH ROMANTIC COMEDY. . .v13 folds its wings, reduces drag, and dives headlong into the unique, teenage egoism that's been on display for more than a dozen books. The pressure to lean into the emotional headwinds is immense, but in refusing to let circumstances dictate how and where they fall to earth, these three teenagers will establish, on their own, what their futures hold.
Hikigaya summons the best of his presumptive pessimism and offers his help to Yukinoshita. Yukinoshita is burdened with resuscitating the prom following a disastrous response from the parents and the school. Of course, the young woman refuses help under the auspices of proving her independence. Why Yukinoshita must validate her independence (to avoid parental intervention, to break the stay of sibling jealousy), and to whom she must prove it (to her exhausted friends, to her temperamental family), are moving targets.
Yukinoshita's feelings for Hikigaya are as complicated as are Hikigaya's feelings for Yukinoshita. They rely on one another's intellectual ferocity. It's an odd, playful antipathy, because beneath the worthless nods and taught smiles rest an intuition, on either side, whose stubbornness always bears results. For readers betting this rotten boy and this icy girl have long since paired tenderer misgivings with their stubbornness, they wouldn't be wrong. But feelings are complicated, notwithstanding the chaos of unending school obligations, the picky delegations of filial piety, and the intersecting needs of other close friends.
Yuigahama knows this, too. The beneficiary of the previous book's intercalary chapters, Yuigahama returns in MY YOUTH ROMANTIC COMEDY. . .v13 as an emotionally caustic self-foil. She feels deeply for Hikigaya. She respects, wholeheartedly, Yukinoshita's hard work. And she seethes, openly, when combatting the predatory gaze of Haruno. When Hikigaya declares his interest in helping Yukinoshita revive the prom event, whether Yukinoshita wants him to or not, it's evident where the young man has thrown his lot. But Yuigahama is more stubborn than heartbroken. She joins Hikigaya's cause. She'll help Hikigaya, even if that means helping Yukinoshita, which could in turn bind Hikigaya closer to Yukinoshita. Or would it? The reflexive nature of her companionship with Yukinoshita is not unknown.
A few quiet moments in a coffee shop. A windy stroll through a few backstreets en route to the train station. A sleepy afternoon in a tiny booth at a video-rental store. Yuigahama steals numerous, intimate, one-on-one moments with Hikigaya. She may lose him to another. She may never lean on his shoulder again. She knows she is probably setting herself up for a massive let-down. And yet, despite all of these alarms, signals, and red flags, Yuigahama cannot help herself. She will cry. She will smile. She will lie. "But please," she begs quietly, "let this time go on a bit longer" (p. 138).
Hikigaya's plot to bolster support for the prom manifests as an outrageous dummy event, which he then promotes with twice the fervor. Ideally, the excessive nature of the dummy event will scare the parents into backing down. Hikigaya runs himself ragged, mocking the mocks, designating designers, and dragging into frame a few familiar faces: the two dorky underclassmen in the gaming club (from My Youth Romantic Comedy. . .v3), and the refined tool Tamanawa, of Kaihin High School (from My Youth Romantic Comedy. . .v9 and My Youth Romantic Comedy. . .v11).
The novel's theme, the jest, can be seen throughout, and Hikigaya's encounters with these and other, remnant characters is no different. Hina Ebina elides mischief for discernment, and in doing so, resumes her role as the stand-in model for the very brand of emotional disengagement Hikigaya, Yukinoshita, and Yuigahama keep failing at. If the three's intertwining affections have become so "obvious" and "transparent" that a fujoshi can no longer joke about it, then perhaps their finicky emotional dependency deserves whatever ending it gets. Ebina, for her part, is optimistic.
Further, the novel's most compelling salvos are easy to mistake for mistakes. In MY YOUTH ROMANTIC COMEDY. . .v13, Hikigaya comes face-to-face with Yukinoshita's mother. Roughly, this is their fourth encounter, the second in close quarters, and it's as much of a nail-biter as one would expect. The narrative trick, however, is that for Hikigaya to emerge unscathed, he must see the forest for the trees. That is to say, Hikigaya mustn't ask how to overcome or defeat the woman's incisiveness, but merely ask why Yukinoshita's mother is so brutally efficient. If he can identify the path of her steely logic, then he can identify to where it must go. He can identify how to redirect her purpose to where it'll benefit him (and Yukinoshita). These games adults play? They're all about status.
"My opponent in this game was not her. She was ultimately a piece on the board -- the strongest one, the queen [..] When you get right down to it, this game was really just about who stole the queen" (pp. 229-230).
And then there's Haruno. This volume wields its intercalary chapters more loosely, permitting readers to inhabit different secondary characters with each narrative pass (e.g., Yukinoshita, Yuigahama, Hayama, Haruno). Near the middle of the book, a Hayama meets up with Haruno, and the conversation takes a dark but intriguing turn.
The novel's jest, of knowing but never naming one's emotional deference, rears up something ugly, as Hayama admits to his overwhelming guilt for having gleefully (if accidentally) flayed Yukinoshita's sincerity as children. He never says it outright, but it's there. And true to the book's thematic pressures, the story reveals that Haruno never forgave him. Ever. Haruno is still a bitter, petulant, and egotistical woman, but the scorn she reserves for those who betray her sister is unending. Knowing this, readers will find the logical extension of Haruno's interference with Hikigaya, Yukinoshita, and Yuigahama absolutely fascinating. Haruno detests Hayama for hurting Yukinoshita, and she actively delays Hikigaya, with belligerence, to prevent the same from occurring a second time. But Hikigaya constantly fights back, no matter how often she wounds him, and Yuigahama is an inherently, passionately protective young woman. Haruno, for once, is left without a move to make.
MY YOUTH ROMANTIC COMEDY. . .v13 is all about the forced smiles, stiff shoulders, and other manners of middling etiquette native to emotional brinksmanship and the willful corruption of every diplomacy in-between. It's also about apportioning disappointment, compartmentalizing competing uncertainties, and the well-worn ruts of selfish selflessness, of aggressively wanting what's best for others in lieu of what's best for oneself.
The peculiar, somewhat terrifying, long-running narrative jest of the previous novel continues in the current volume: Hikigaya, Yukinoshita, and Yuigahama each acknowledge they've grown to rely on one another rather intimately. And yet, they never explicitly name this affection, beyond its tactical cognates. But they know it's there. And they know everyone else knows it's there. It's an open secret. But that's not the jest. Not really. The jest is that by ignoring the obvious and enduring the awkward, the characters routinely insinuate something deeper, more essential, and more valid is at play. But they never quite touch it. And because they never quite touch it, the cycle begins all over again.
MY YOUTH ROMANTIC COMEDY. . .v13 folds its wings, reduces drag, and dives headlong into the unique, teenage egoism that's been on display for more than a dozen books. The pressure to lean into the emotional headwinds is immense, but in refusing to let circumstances dictate how and where they fall to earth, these three teenagers will establish, on their own, what their futures hold.
Hikigaya summons the best of his presumptive pessimism and offers his help to Yukinoshita. Yukinoshita is burdened with resuscitating the prom following a disastrous response from the parents and the school. Of course, the young woman refuses help under the auspices of proving her independence. Why Yukinoshita must validate her independence (to avoid parental intervention, to break the stay of sibling jealousy), and to whom she must prove it (to her exhausted friends, to her temperamental family), are moving targets.
Yukinoshita's feelings for Hikigaya are as complicated as are Hikigaya's feelings for Yukinoshita. They rely on one another's intellectual ferocity. It's an odd, playful antipathy, because beneath the worthless nods and taught smiles rest an intuition, on either side, whose stubbornness always bears results. For readers betting this rotten boy and this icy girl have long since paired tenderer misgivings with their stubbornness, they wouldn't be wrong. But feelings are complicated, notwithstanding the chaos of unending school obligations, the picky delegations of filial piety, and the intersecting needs of other close friends.
Yuigahama knows this, too. The beneficiary of the previous book's intercalary chapters, Yuigahama returns in MY YOUTH ROMANTIC COMEDY. . .v13 as an emotionally caustic self-foil. She feels deeply for Hikigaya. She respects, wholeheartedly, Yukinoshita's hard work. And she seethes, openly, when combatting the predatory gaze of Haruno. When Hikigaya declares his interest in helping Yukinoshita revive the prom event, whether Yukinoshita wants him to or not, it's evident where the young man has thrown his lot. But Yuigahama is more stubborn than heartbroken. She joins Hikigaya's cause. She'll help Hikigaya, even if that means helping Yukinoshita, which could in turn bind Hikigaya closer to Yukinoshita. Or would it? The reflexive nature of her companionship with Yukinoshita is not unknown.
A few quiet moments in a coffee shop. A windy stroll through a few backstreets en route to the train station. A sleepy afternoon in a tiny booth at a video-rental store. Yuigahama steals numerous, intimate, one-on-one moments with Hikigaya. She may lose him to another. She may never lean on his shoulder again. She knows she is probably setting herself up for a massive let-down. And yet, despite all of these alarms, signals, and red flags, Yuigahama cannot help herself. She will cry. She will smile. She will lie. "But please," she begs quietly, "let this time go on a bit longer" (p. 138).
Hikigaya's plot to bolster support for the prom manifests as an outrageous dummy event, which he then promotes with twice the fervor. Ideally, the excessive nature of the dummy event will scare the parents into backing down. Hikigaya runs himself ragged, mocking the mocks, designating designers, and dragging into frame a few familiar faces: the two dorky underclassmen in the gaming club (from My Youth Romantic Comedy. . .v3), and the refined tool Tamanawa, of Kaihin High School (from My Youth Romantic Comedy. . .v9 and My Youth Romantic Comedy. . .v11).
The novel's theme, the jest, can be seen throughout, and Hikigaya's encounters with these and other, remnant characters is no different. Hina Ebina elides mischief for discernment, and in doing so, resumes her role as the stand-in model for the very brand of emotional disengagement Hikigaya, Yukinoshita, and Yuigahama keep failing at. If the three's intertwining affections have become so "obvious" and "transparent" that a fujoshi can no longer joke about it, then perhaps their finicky emotional dependency deserves whatever ending it gets. Ebina, for her part, is optimistic.
Further, the novel's most compelling salvos are easy to mistake for mistakes. In MY YOUTH ROMANTIC COMEDY. . .v13, Hikigaya comes face-to-face with Yukinoshita's mother. Roughly, this is their fourth encounter, the second in close quarters, and it's as much of a nail-biter as one would expect. The narrative trick, however, is that for Hikigaya to emerge unscathed, he must see the forest for the trees. That is to say, Hikigaya mustn't ask how to overcome or defeat the woman's incisiveness, but merely ask why Yukinoshita's mother is so brutally efficient. If he can identify the path of her steely logic, then he can identify to where it must go. He can identify how to redirect her purpose to where it'll benefit him (and Yukinoshita). These games adults play? They're all about status.
"My opponent in this game was not her. She was ultimately a piece on the board -- the strongest one, the queen [..] When you get right down to it, this game was really just about who stole the queen" (pp. 229-230).
And then there's Haruno. This volume wields its intercalary chapters more loosely, permitting readers to inhabit different secondary characters with each narrative pass (e.g., Yukinoshita, Yuigahama, Hayama, Haruno). Near the middle of the book, a Hayama meets up with Haruno, and the conversation takes a dark but intriguing turn.
The novel's jest, of knowing but never naming one's emotional deference, rears up something ugly, as Hayama admits to his overwhelming guilt for having gleefully (if accidentally) flayed Yukinoshita's sincerity as children. He never says it outright, but it's there. And true to the book's thematic pressures, the story reveals that Haruno never forgave him. Ever. Haruno is still a bitter, petulant, and egotistical woman, but the scorn she reserves for those who betray her sister is unending. Knowing this, readers will find the logical extension of Haruno's interference with Hikigaya, Yukinoshita, and Yuigahama absolutely fascinating. Haruno detests Hayama for hurting Yukinoshita, and she actively delays Hikigaya, with belligerence, to prevent the same from occurring a second time. But Hikigaya constantly fights back, no matter how often she wounds him, and Yuigahama is an inherently, passionately protective young woman. Haruno, for once, is left without a move to make.
MY YOUTH ROMANTIC COMEDY. . .v13 is all about the forced smiles, stiff shoulders, and other manners of middling etiquette native to emotional brinksmanship and the willful corruption of every diplomacy in-between. It's also about apportioning disappointment, compartmentalizing competing uncertainties, and the well-worn ruts of selfish selflessness, of aggressively wanting what's best for others in lieu of what's best for oneself.
December 26, 2019
Wow, that took a long time to get through. I really trudged along and didn't enjoy it as much as the other volumes, though it was partly because of the amateur/non-professional translation I was using I think (ex they overused the word "bitter" for stuff like "bitter smile" a LOT).
But most of all, I think the plot went very slowly. Essentially Hachiman decides to come up with a dummy prom plan so that by comparison, Yukinoshita's better plan is picked. But I think that's a weak strategy where both can/should fail still.
He spends almost the whole volume trying that, and its not that engaging, and at this point, I've grown a bit frustrated how the author doesn't have the characters overtly just say "like" or "dislike" - you can only be so nebulous and "subtle" before readers get annoyed IMO - especially when the characters already acknowledged their conflicting feelings more or less.
But I did appreciate some aspects. My favorite was him using his leverage as the person hit by the Yukinoshita family's car from volume 1 - it was a nice tie in to the beginning of the story, given this was/is the penultimate novel.
I'm curious to see how this will wrap up. Totsuka didn't return cameo wise so I assume he'll provide some sort of support, but I liked learning stuff like the side character Sagami from the video game club revealed to be the other Sagami's little brother, liked how the feelings of some people are getting resolved like Yukinon winning the volume 1 gamble and using it to set up Hachiman and Yui, and while aspects like Hayama's feelings and decisions confused me a bit, I also did appreciate some side stuff like Ebina revealing some of her thoughts, etc.
One small thing - I would've liked to hear/see what Hachiman got his little sister for his birthday given how important she is to him. But anyway, overall, it was disappointing and not a particularly fun read TBH - I was mainly reading out of commitment to the series and a desire to know the finale, since this is the penultimate book. I hope the final volume 14th next work is worth it, payoff-wise, since this wasn't quite as emotionally satisfying or as entertaining/engaging as I had hoped overall.
But most of all, I think the plot went very slowly. Essentially Hachiman decides to come up with a dummy prom plan so that by comparison, Yukinoshita's better plan is picked. But I think that's a weak strategy where both can/should fail still.
He spends almost the whole volume trying that, and its not that engaging, and at this point, I've grown a bit frustrated how the author doesn't have the characters overtly just say "like" or "dislike" - you can only be so nebulous and "subtle" before readers get annoyed IMO - especially when the characters already acknowledged their conflicting feelings more or less.
But I did appreciate some aspects. My favorite was him using his leverage as the person hit by the Yukinoshita family's car from volume 1 - it was a nice tie in to the beginning of the story, given this was/is the penultimate novel.
I'm curious to see how this will wrap up. Totsuka didn't return cameo wise so I assume he'll provide some sort of support, but I liked learning stuff like the side character Sagami from the video game club revealed to be the other Sagami's little brother, liked how the feelings of some people are getting resolved like Yukinon winning the volume 1 gamble and using it to set up Hachiman and Yui, and while aspects like Hayama's feelings and decisions confused me a bit, I also did appreciate some side stuff like Ebina revealing some of her thoughts, etc.
One small thing - I would've liked to hear/see what Hachiman got his little sister for his birthday given how important she is to him. But anyway, overall, it was disappointing and not a particularly fun read TBH - I was mainly reading out of commitment to the series and a desire to know the finale, since this is the penultimate book. I hope the final volume 14th next work is worth it, payoff-wise, since this wasn't quite as emotionally satisfying or as entertaining/engaging as I had hoped overall.
This entire review has been hidden because of spoilers.
November 12, 2023
"Así es él. Así son ellos. Son inteligentes, pero son muy, muy estúpidos. Siempre han hecho esto, así que no entienden otra manera. Necesitan tener motivos como oposición o competencia, o no podrán acercarse".
----------
Este es el volumen 13 de Oregairu, o aquel en el que Hikigaya Hachiman quiere dar una mano con lo del baile de graduación, Yukinoshita Yukino no quiere su ayuda, ambos terminan convirtiéndo el asunto en una competencia y Yuigahama Yui decide ayudar a Hikigaya a crear una falsa propuesta para hacer una fiesta mucho más grande y salvaje que la que planearon originalmente Yukino y el StuCo, lo cual teóricamente hará que el plan antes rechazado se vuelva una mejor opción (y aprovecha para robarle al tiempo breves momentos junto a él. Después de todo y si no tendrá posibilidad alguna en el futuro, se permitirá, al menos, disfrutar lo que pueda tener ahora) y yo me siento estafada. De verdad, ¿cómo que a la señora Yukinoshita no le importa si se realiza o no el baile y solo basta una conversación para convencerla de que abogue a favor del evento ante los padres?
Además, está esa escena en la que Yukinoshita y Hikigaya discuten sobre la persona que ganó su competencia —no solo la del baile, sino también la que ganaría quien resolviera más peticiones hechas al Service Club— (gané, así que ¿harás lo que te diga?/no, esta es solo una victoria /pero dijiste que quien ganaba esta competencia, ganaba todo/ese fue solo un modo de redactarlo, ya ves/entonces, decide tú cómo va esto/sabes qué, nos falta un miembro, así que dejémoslo para después, ¿si?/no. Esta relación está mal y es falsa, así que pongámosle fin/vale, entonces pierdo. ¿Qué quieres que haga/cumple la petición de Yuigahama) y lo disuelven… pero eso es doloroso de analizar, así que simplemente no voy a intentar hacerlo, ¿de acuerdo?
En una nota no relacionada, ¿por qué Yukinoshita Haruno parece más la antagonista que su propia madre aquí? algo me dice que la cosa no debería ser así, enserio…
----------
Este es el volumen 13 de Oregairu, o aquel en el que Hikigaya Hachiman quiere dar una mano con lo del baile de graduación, Yukinoshita Yukino no quiere su ayuda, ambos terminan convirtiéndo el asunto en una competencia y Yuigahama Yui decide ayudar a Hikigaya a crear una falsa propuesta para hacer una fiesta mucho más grande y salvaje que la que planearon originalmente Yukino y el StuCo, lo cual teóricamente hará que el plan antes rechazado se vuelva una mejor opción (y aprovecha para robarle al tiempo breves momentos junto a él. Después de todo y si no tendrá posibilidad alguna en el futuro, se permitirá, al menos, disfrutar lo que pueda tener ahora) y yo me siento estafada. De verdad, ¿cómo que a la señora Yukinoshita no le importa si se realiza o no el baile y solo basta una conversación para convencerla de que abogue a favor del evento ante los padres?
Además, está esa escena en la que Yukinoshita y Hikigaya discuten sobre la persona que ganó su competencia —no solo la del baile, sino también la que ganaría quien resolviera más peticiones hechas al Service Club— (gané, así que ¿harás lo que te diga?/no, esta es solo una victoria /pero dijiste que quien ganaba esta competencia, ganaba todo/ese fue solo un modo de redactarlo, ya ves/entonces, decide tú cómo va esto/sabes qué, nos falta un miembro, así que dejémoslo para después, ¿si?/no. Esta relación está mal y es falsa, así que pongámosle fin/vale, entonces pierdo. ¿Qué quieres que haga/cumple la petición de Yuigahama) y lo disuelven… pero eso es doloroso de analizar, así que simplemente no voy a intentar hacerlo, ¿de acuerdo?
En una nota no relacionada, ¿por qué Yukinoshita Haruno parece más la antagonista que su propia madre aquí? algo me dice que la cosa no debería ser así, enserio…
This entire review has been hidden because of spoilers.
June 9, 2021
Penúltimo volumen, ya se siente el final cada vez más cerca, marcando el final del volumen, el inicio del clímax final de la historia, el volumen es muy bueno, se puede ver constantemente los problemas de Hachiman con simplemente ser honesto con sus sentimientos y realmente pone a uno expectante de si está vez el podrá darse cuenta al fin.
January 21, 2021
That last interlude of yukino is really heartbreaking
May 1, 2022
สร้างโครงการงานพรอมยิ่งใหญ่อลังการเลอะเทอะ
เพื่อเป็นตัวเลือกหลอกให้ไปเลือกงานของเธ���
มีแต่คนถามว่าทำไมถึงทำ บอกไปว่าทำเพราะอยากทำ
ไม่มีอะไรมากกว่านั้น แต่จริงๆเธอคือคนสำคัญแน่นอน
เพื่อเป็นตัวเลือกหลอกให้ไปเลือกงานของเธ���
มีแต่คนถามว่าทำไมถึงทำ บอกไปว่าทำเพราะอยากทำ
ไม่มีอะไรมากกว่านั้น แต่จริงๆเธอคือคนสำคัญแน่นอน
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