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やはり俺の青春ラブコメはまちがっている。 #6
Chuyện Tình Thanh Xuân Bi Hài Của Tôi Quả Nhiên Là Sai Lầm T6
Lễ Hội văn hóa.
Cách để trốn được các công việc phiền phức là… bị gọi cũng không trả lời, thể hiện ra mặt sự khó chịu của mình!? Hachiman sử dụng toàn bộ kỹ năng của một kẻ cô đơn để trốn tránh công việc chuẩn bị lễ hội.
Tuy nhiên, cậu đã bị bắt làm thành viên của ban tổ chức lễ hội trong một lần trốn tiết sinh hoạt.
Học kỳ mới đã bắt đầu, thế nhưng Hachiman có gì đó hơi lạ lùng. Cả trong lớp lẫn câu lạc bộ… Thắc mắc của cậu đối với Yukinoshita vẫn còn đó, thế nhưng cậu lại không đặt câu hỏi.
Yukinoshita và Hachiman, cả hai người không thể tiến lên phía trước cũng như không thể quay đầu lại. Liệu sẽ có sự thay đổi nào cho khoảng cách vẫn không thể rút ngắn này không?
Cách để trốn được các công việc phiền phức là… bị gọi cũng không trả lời, thể hiện ra mặt sự khó chịu của mình!? Hachiman sử dụng toàn bộ kỹ năng của một kẻ cô đơn để trốn tránh công việc chuẩn bị lễ hội.
Tuy nhiên, cậu đã bị bắt làm thành viên của ban tổ chức lễ hội trong một lần trốn tiết sinh hoạt.
Học kỳ mới đã bắt đầu, thế nhưng Hachiman có gì đó hơi lạ lùng. Cả trong lớp lẫn câu lạc bộ… Thắc mắc của cậu đối với Yukinoshita vẫn còn đó, thế nhưng cậu lại không đặt câu hỏi.
Yukinoshita và Hachiman, cả hai người không thể tiến lên phía trước cũng như không thể quay đầu lại. Liệu sẽ có sự thay đổi nào cho khoảng cách vẫn không thể rút ngắn này không?
448 pages, Paperback
First published November 20, 2012
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May 30, 2019
"Are you fine with this?"
Not since the first volume has Watari's novel series articulated so clearly the danger of glossing over the garish insecurities that so hungrily devour contemporary youth in search of meaning. My Youth Romantic Comedy Is Wrong, As I Expected is a tactful gamble against all odds, a cynical bark into the night, and a fearless deconstruction of social mores all in one . . . just as it always was. The only difference, in this sixth volume, is that Hachiman Hikigaya is on an increasingly bigger stage and must assume increasingly greater (or more obvious) consequences for being a realist.
MY YOUTH ROMANTIC COMEDY. . .#6 focuses on the end-of-summer culture festival at Chiba City Municipal Soubu High School. Yukinoshita is roped into assuming the role of vice chair and Hikigaya is shoved into a minor role within the Records & Miscellaneous team. All of which sounds typical. Until the lazy and uninspired chair of the committee starts dumping her work on others . . . Until the bulk of the committee loses interest and refuses to do a reputable job . . . Until the singular typhoon known as Haruno Yukinoshita shows up and deliberately injects venom into the conflict . . . What initially began as yet another uncomfortable chapter in Yukinoshita and Hikigaya's high school life abruptly shifts into one long and searing adult lesson on the cost of success.
No matter how damning Hikigaya's cynicism, it is always warranted. And however brutal Yukinoshita's pragmatism, it is always purposefully applied. Oddly, until now, these two characters have never faced a challenge their bullheaded brilliance cannot overcome with brute force. The Cultural Festival Committee is the ultimate test. How does one circumnavigate the dispiriting laziness of others? Outwit peers who are insatiably flaky by nature? Outwork an elder sibling with god-tier Type A intuition?
Hikigaya initially resolves to float into the background and let the errors of others drift on by. But he resolves to do something about the sinking ship when it becomes increasingly clear that Yukinoshita -- taking on more and more duties, with less and less help or recognition -- is setting herself up for failure. The boy will never admit it, but seeing a colleague brought down by a sequence of institutional failures is one horror story too many. Tragic heroism is an act of self-sacrifice and self-aggrandizement in the same breath. There is nothing wrong with that -- in concept -- unless one (Yukinoshita) refuses to come up for air.
MY YOUTH ROMANTIC COMEDY. . .#6 has phenomenal pacing and a near-perfect balance of character dynamics. Hikigaya and Yukinoshita play off one another, but indirectly, in their attempt to save the culture festival from the idiocy and lethargy of their classmates. It's quite extraordinary to witness two characters traverse the same conflict through different means while still acknowledging the necessity of ethical synchronicity. It's like a dance, except the characters are unavoidably preoccupied with other dance partners.
For example, Haruno stomps into the scene claiming a fervent desire to give back to her school as a kind-hearted alumna. Yukinoshita is mortified and belittled at every turn. Haruno, of course is revered, and everything the elder sister touches turns to gold. It takes a long time for Yukinoshita to stand up for herself and take charge of an obviously deteriorating situation. As for Hikigaya, he spies the problem from the beginning ("Nothing ever just 'happened' with Haruno Yukinoshita. She only made it seem that way, which was why she was terrifying," p. 77). And that's when (and why) Hikigaya decides to rattle his classmates so publicly in this volume. He sees their listlessness and hypocrisy and it's eating him up inside. For readers, it's nerve-wracking, because the young man rarely raises his voice when there are obvious consequences on the line. But with Yukinoshita on the verge of a breakdown, desperate times call for desperate measures.
Hikigaya observes competing perceptions of youth's reality among his peers on the Cultural Festival Committee, and neither is valid. One perspective is terrified of the way youth's indiscretions splinter our emotions and fracture our relationships. The other deliberately glosses over the percolated animosity with practiced egotism. In MY YOUTH ROMANTIC COMEDY. . .#6, Hikigaya has had enough and finally reveals his peers' hypocrisy to their faces. One cannot be a leader and refuse to work hard. One cannot claim emotional jurisprudence and not cherish the equanimity required of such a fate. One cannot take responsibility for something and abdicate their place in owning the aftermaths.
He sneers at his fellow students, calls them selfish, calls them garbage, and dares them to do something about it; he dares them to be better human beings. And it works, because honesty, however masked in cruelty, is a great betrayer of kindness (Yukinoshita: "You always make excuses when it doesn't matter, but when it's important, you don't. I think that's a little unfair," p. 137).
Absorbing the suffering and pain of the tragic hero is the primary undercurrent of this volume but there's so much more. The novel series' emotional ballast (Yuigahama) and voice of exterior rationality (Hiratsuka) each appear with the perfect flair: Yuigahama damn near admits that she's done waiting to see if Hikigaya notices her ("If waiting is never going to work with someone, then I'm not going to wait [..] I'll be the one to make the first move," p. 164–165) and Miss Hiratsuka conscientiously acknowledges her duty to shepherd these kids into adulthood ("Helping someone else is no excuse to hurt yourself [..] Even if you're used to it . . . you need to realize now that some of us find it painful to watch you get hurt," p. 223).
At turns remarkable, painful, inspiring, and tragic, MY YOUTH ROMANTIC COMEDY. . .#6 doesn't merely articulate Hachiman Hikigaya's world philosophy, it puts his philosophy into practice. He rebukes the delicate musings of those trying to please everyone and he pointedly argues that egalitarianism always leaves someone shortchanged. He acknowledges the pain of others not by relieving them of their agony but by showing them how to reiterate or redistribute their agony toward others. And when confronted with dithering social discourse threatening to subsume (that is, tame) his realist instincts, Hikigaya carves through the nonsense and replies with only the obvious answer: "Yeah. This is fine."
Not since the first volume has Watari's novel series articulated so clearly the danger of glossing over the garish insecurities that so hungrily devour contemporary youth in search of meaning. My Youth Romantic Comedy Is Wrong, As I Expected is a tactful gamble against all odds, a cynical bark into the night, and a fearless deconstruction of social mores all in one . . . just as it always was. The only difference, in this sixth volume, is that Hachiman Hikigaya is on an increasingly bigger stage and must assume increasingly greater (or more obvious) consequences for being a realist.
MY YOUTH ROMANTIC COMEDY. . .#6 focuses on the end-of-summer culture festival at Chiba City Municipal Soubu High School. Yukinoshita is roped into assuming the role of vice chair and Hikigaya is shoved into a minor role within the Records & Miscellaneous team. All of which sounds typical. Until the lazy and uninspired chair of the committee starts dumping her work on others . . . Until the bulk of the committee loses interest and refuses to do a reputable job . . . Until the singular typhoon known as Haruno Yukinoshita shows up and deliberately injects venom into the conflict . . . What initially began as yet another uncomfortable chapter in Yukinoshita and Hikigaya's high school life abruptly shifts into one long and searing adult lesson on the cost of success.
No matter how damning Hikigaya's cynicism, it is always warranted. And however brutal Yukinoshita's pragmatism, it is always purposefully applied. Oddly, until now, these two characters have never faced a challenge their bullheaded brilliance cannot overcome with brute force. The Cultural Festival Committee is the ultimate test. How does one circumnavigate the dispiriting laziness of others? Outwit peers who are insatiably flaky by nature? Outwork an elder sibling with god-tier Type A intuition?
Hikigaya initially resolves to float into the background and let the errors of others drift on by. But he resolves to do something about the sinking ship when it becomes increasingly clear that Yukinoshita -- taking on more and more duties, with less and less help or recognition -- is setting herself up for failure. The boy will never admit it, but seeing a colleague brought down by a sequence of institutional failures is one horror story too many. Tragic heroism is an act of self-sacrifice and self-aggrandizement in the same breath. There is nothing wrong with that -- in concept -- unless one (Yukinoshita) refuses to come up for air.
MY YOUTH ROMANTIC COMEDY. . .#6 has phenomenal pacing and a near-perfect balance of character dynamics. Hikigaya and Yukinoshita play off one another, but indirectly, in their attempt to save the culture festival from the idiocy and lethargy of their classmates. It's quite extraordinary to witness two characters traverse the same conflict through different means while still acknowledging the necessity of ethical synchronicity. It's like a dance, except the characters are unavoidably preoccupied with other dance partners.
For example, Haruno stomps into the scene claiming a fervent desire to give back to her school as a kind-hearted alumna. Yukinoshita is mortified and belittled at every turn. Haruno, of course is revered, and everything the elder sister touches turns to gold. It takes a long time for Yukinoshita to stand up for herself and take charge of an obviously deteriorating situation. As for Hikigaya, he spies the problem from the beginning ("Nothing ever just 'happened' with Haruno Yukinoshita. She only made it seem that way, which was why she was terrifying," p. 77). And that's when (and why) Hikigaya decides to rattle his classmates so publicly in this volume. He sees their listlessness and hypocrisy and it's eating him up inside. For readers, it's nerve-wracking, because the young man rarely raises his voice when there are obvious consequences on the line. But with Yukinoshita on the verge of a breakdown, desperate times call for desperate measures.
Hikigaya observes competing perceptions of youth's reality among his peers on the Cultural Festival Committee, and neither is valid. One perspective is terrified of the way youth's indiscretions splinter our emotions and fracture our relationships. The other deliberately glosses over the percolated animosity with practiced egotism. In MY YOUTH ROMANTIC COMEDY. . .#6, Hikigaya has had enough and finally reveals his peers' hypocrisy to their faces. One cannot be a leader and refuse to work hard. One cannot claim emotional jurisprudence and not cherish the equanimity required of such a fate. One cannot take responsibility for something and abdicate their place in owning the aftermaths.
He sneers at his fellow students, calls them selfish, calls them garbage, and dares them to do something about it; he dares them to be better human beings. And it works, because honesty, however masked in cruelty, is a great betrayer of kindness (Yukinoshita: "You always make excuses when it doesn't matter, but when it's important, you don't. I think that's a little unfair," p. 137).
Absorbing the suffering and pain of the tragic hero is the primary undercurrent of this volume but there's so much more. The novel series' emotional ballast (Yuigahama) and voice of exterior rationality (Hiratsuka) each appear with the perfect flair: Yuigahama damn near admits that she's done waiting to see if Hikigaya notices her ("If waiting is never going to work with someone, then I'm not going to wait [..] I'll be the one to make the first move," p. 164–165) and Miss Hiratsuka conscientiously acknowledges her duty to shepherd these kids into adulthood ("Helping someone else is no excuse to hurt yourself [..] Even if you're used to it . . . you need to realize now that some of us find it painful to watch you get hurt," p. 223).
At turns remarkable, painful, inspiring, and tragic, MY YOUTH ROMANTIC COMEDY. . .#6 doesn't merely articulate Hachiman Hikigaya's world philosophy, it puts his philosophy into practice. He rebukes the delicate musings of those trying to please everyone and he pointedly argues that egalitarianism always leaves someone shortchanged. He acknowledges the pain of others not by relieving them of their agony but by showing them how to reiterate or redistribute their agony toward others. And when confronted with dithering social discourse threatening to subsume (that is, tame) his realist instincts, Hikigaya carves through the nonsense and replies with only the obvious answer: "Yeah. This is fine."
July 30, 2020
As always, Hachiman sacrifices himself to end a conflict, leaving his acquaintances concerned. In the end, they all known he's the only one the most afflicted.
In this volume, each chapter Hachiman points out the hypocrisy and values which people strives to maintain in society. How the students numerous times unconsciously reflects the society in its worst side.
He acknowledged as well as the world keep changing day by day, his twisted understanding will change at some point as well.
In this volume, each chapter Hachiman points out the hypocrisy and values which people strives to maintain in society. How the students numerous times unconsciously reflects the society in its worst side.
He acknowledged as well as the world keep changing day by day, his twisted understanding will change at some point as well.
September 13, 2017
Plot finally becomes exciting, as the story focuses in on the family strife that is taking a toll on Yukinoshita's help. Ultimately, the conflict drives Hikigaya and Yuighama to take bold steps in order to help Yukino overcome her struggles.
The story primarily focuses on the cultural festival. Despite her resistance, Yukinoshita has been put into role of leading and running the festival, despite her wishes. Yet, she refuses to decline, as she is provoked by her sister. Though, it is hinted that Haruno's true intentions are to act as a villain in order to drive Yukinoshita to improve herself (As noticed by Hikigaya).
The story primarily focuses on the cultural festival. Despite her resistance, Yukinoshita has been put into role of leading and running the festival, despite her wishes. Yet, she refuses to decline, as she is provoked by her sister. Though, it is hinted that Haruno's true intentions are to act as a villain in order to drive Yukinoshita to improve herself (As noticed by Hikigaya).
September 25, 2019
Sự thật, rằng điều gì là thứ khiến cho một tập thể đoàn kết? Không phải là chung mục đích, lý tưởng tốt đẹp, hay một người lãnh đạo tài năng lạnh lùng. Mà lại là một kẻ thù chung xác định. Giống như Murakami đã nói trong “Tazaki Tsukuru không màu và những năm tháng hành hương.” Điều mà ai nghĩ đến cũng sẽ phủ nhận, nhưng lại là thứ diễn ra hằng ngày và bị hiểu sai.
Lịch sử là minh chứng cho điều đó. Chiến tranh giữa tư bản và thuộc địa xảy ra khốc liệt, nhưng kẻ mạnh hơn lại là kẻ thua cuộc. Bởi hàng triệu con người cùng đoàn kết chống lại một kẻ thù chung.
Thế giới vận hành như thế. Thắng bại không thể quyết định ở một cá thể, một kẻ độc tài; mà nằm ở số lượng, một phe đa số. Hitler dưới thời Đức Quốc xã đã thất bại, dù cho ông ta là một thủ lĩnh tài năng, bởi vì điều đó đi ngược lại với số đông. Trước sự tàn bạo đó thì chẳng ai đồng cảm nổi được với cái “lý tưởng” cao cả đó cả.
"Con người là loài sinh vật sống đồng cảm. Ai cũng phải cần ở cùng những người khác, để thấy an tâm và không bị lạc lõng." Đó là vì sao những thứ như đa cấp, tôn giáo hay xu hướng có thể dễ dàng tồn tại và phát triển. Với sự độc đoán và bản năng của con người xưa kia thì việc tạo ra một kẻ thù là điều vô cùng đơn giản. Nhưng với xã hội ngày nay, tạo ra một “kẻ thù” như vậy, là một chuyện chẳng mấy làm dễ dàng. Chẳng có một lý do gì để một người bình thường có thể chọn cách đó cả.
Một Ban chấp hành lễ hội văn hóa thiếu đoàn kết đứng trước bờ vực sụp đổ, một Trưởng ban tổ chức Sagami rũ bỏ trách nhiệm và trốn chạy, Phó ban Yukinoshita thì bị đổ hết lên trách nhiệm và công việc bằng của cả một tập thể. Những điều thường thấy của một tập thể. Nhưng Hikigaya Hachiman đã chọn cách phơi bày toàn bộ sự thật phũ phàng. Để bảo vệ Yukinoshita. Để lấy sự căm ghét của mọi người với mình làm cho họ đoàn kết lại là một tập thể. Để khiến một kẻ trốn chạy hèn nhát như Trưởng ban Sagami đáng nhẽ ra sẽ chẳng bao giờ được tha thứ, quay lại dưới danh nghĩa là một nạn nhân chịu sự tổn thương của những lời nói vô tâm.
Mọi người ai cũng được cứu giúp. Nhưng sự hiểu lầm thì chẳng bao giờ được hóa giải. Luôn có một người phải hi sinh và chịu sự cô đơn. Những con người sai lầm thì vẫn sẽ tiếp tục sai lầm mà chẳng nhận ra bản thân mình hèn nhát. Không ai có thể trưởng thành.
Đó là cách làm của một kẻ luôn cô độc, kẻ bị những tên thực sự “hèn nhát” cho là hèn nhát. Người khác có nghĩ gì về cậu cũng chẳng sao cả. Chỉ cần đó là hành động mang lại thành quả. Nhưng mà, giúp ai đó không có nghĩa là phải tự làm tổn thương chính mình. Đã bao giờ cậu nghĩ rằng đến một ngày, sẽ có người cảm thấy đau lòng khi nhìn thấy cậu bị tổn thương? Mang trong mình suy nghĩ đó, liệu sau này cậu có thể giúp đỡ được những người cậu “thực sự” muốn giúp không? Sự mâu thuẫn quay trở lại như một vòng luẩn quẩn: có thật là mọi người ai cũng đều được cứu giúp?
Lịch sử là minh chứng cho điều đó. Chiến tranh giữa tư bản và thuộc địa xảy ra khốc liệt, nhưng kẻ mạnh hơn lại là kẻ thua cuộc. Bởi hàng triệu con người cùng đoàn kết chống lại một kẻ thù chung.
Thế giới vận hành như thế. Thắng bại không thể quyết định ở một cá thể, một kẻ độc tài; mà nằm ở số lượng, một phe đa số. Hitler dưới thời Đức Quốc xã đã thất bại, dù cho ông ta là một thủ lĩnh tài năng, bởi vì điều đó đi ngược lại với số đông. Trước sự tàn bạo đó thì chẳng ai đồng cảm nổi được với cái “lý tưởng” cao cả đó cả.
"Con người là loài sinh vật sống đồng cảm. Ai cũng phải cần ở cùng những người khác, để thấy an tâm và không bị lạc lõng." Đó là vì sao những thứ như đa cấp, tôn giáo hay xu hướng có thể dễ dàng tồn tại và phát triển. Với sự độc đoán và bản năng của con người xưa kia thì việc tạo ra một kẻ thù là điều vô cùng đơn giản. Nhưng với xã hội ngày nay, tạo ra một “kẻ thù” như vậy, là một chuyện chẳng mấy làm dễ dàng. Chẳng có một lý do gì để một người bình thường có thể chọn cách đó cả.
Một Ban chấp hành lễ hội văn hóa thiếu đoàn kết đứng trước bờ vực sụp đổ, một Trưởng ban tổ chức Sagami rũ bỏ trách nhiệm và trốn chạy, Phó ban Yukinoshita thì bị đổ hết lên trách nhiệm và công việc bằng của cả một tập thể. Những điều thường thấy của một tập thể. Nhưng Hikigaya Hachiman đã chọn cách phơi bày toàn bộ sự thật phũ phàng. Để bảo vệ Yukinoshita. Để lấy sự căm ghét của mọi người với mình làm cho họ đoàn kết lại là một tập thể. Để khiến một kẻ trốn chạy hèn nhát như Trưởng ban Sagami đáng nhẽ ra sẽ chẳng bao giờ được tha thứ, quay lại dưới danh nghĩa là một nạn nhân chịu sự tổn thương của những lời nói vô tâm.
Mọi người ai cũng được cứu giúp. Nhưng sự hiểu lầm thì chẳng bao giờ được hóa giải. Luôn có một người phải hi sinh và chịu sự cô đơn. Những con người sai lầm thì vẫn sẽ tiếp tục sai lầm mà chẳng nhận ra bản thân mình hèn nhát. Không ai có thể trưởng thành.
Đó là cách làm của một kẻ luôn cô độc, kẻ bị những tên thực sự “hèn nhát” cho là hèn nhát. Người khác có nghĩ gì về cậu cũng chẳng sao cả. Chỉ cần đó là hành động mang lại thành quả. Nhưng mà, giúp ai đó không có nghĩa là phải tự làm tổn thương chính mình. Đã bao giờ cậu nghĩ rằng đến một ngày, sẽ có người cảm thấy đau lòng khi nhìn thấy cậu bị tổn thương? Mang trong mình suy nghĩ đó, liệu sau này cậu có thể giúp đỡ được những người cậu “thực sự” muốn giúp không? Sự mâu thuẫn quay trở lại như một vòng luẩn quẩn: có thật là mọi người ai cũng đều được cứu giúp?
October 25, 2023
Organizar un festival cultural. Divertido.
"Entonces —piensa Hikigaya—, simplemente estaré al margen, haciendo un trabajo menor y ya. Fácil".
Y eso hace… hasta que la presidenta del comité organizador decide que "hey, voy a dejarle todo mi trabajo a otra persona. después de todo, no es que me haya ofrecido como voluntaria por deber, responsabilidad o ese tipo de cosas".
Y eso hace… hasta que se decide que la organización debería relajarse y la gente deja de ayudar poco a poco (gracias por colaboraren parte con eso, Yukinoshita haruno)
Y eso hace… hasta que se da cuenta de que Yukinoshita Yukino, la persona a quien le han impuesto un trabajo que no era el suyo para empezar, se está sobrecargando.
Es tras todo eso que él actúa.
¿Su solución? darles a todos un enemigo contra el cual unirse.
¿El enemigo? él mismo, por supuesto. Después de todo, no es como si con eso estuviera lastimando a quienes posrían sentir preocupación por él o algo así. Porque, ya sabe, tales personas no existen. Jeje.
Esa solución funciona… de cierta manera. Pero yo divago. Vamos al final del festival cultural, ¿sí?
*La presidenta del comité huye.
*Hikigaya la encuentra, pero no logra convencerla para que dé los premios y el discurso de cierre.
*Hayama y compañía aparecen, pero tampoco logran el cometido mencionado anteriormente.
Ahora, tenga en cuenta que se está corriendo contra el reloj aquí, así que soluciones, soluciones.
Oh, espere, a Hikigaya se le ocurre una muy, muy genial.
Sí, implica decirle cosas desagradables a la presidenta, hacerla sentir mal y quedar él mismo como el malo ante todos los presentes (y los no presentes también, porque rumores)
Eso funciona, por supuesto, y todo está bien en el mundo porque lo que importa es el resultado, no el modo en que fue logrado. Sí.
No, ahora ya hablando objetivamente: si este fuera un libro independiente, definitivamente lo recomendaría. No quiero decir que no lo recomiendo pero, bueno, para entenderlo hay que pasar por los 5 volúmenes anteriores, porque hay un punto de inflexión justo aquí.
"Entonces —piensa Hikigaya—, simplemente estaré al margen, haciendo un trabajo menor y ya. Fácil".
Y eso hace… hasta que la presidenta del comité organizador decide que "hey, voy a dejarle todo mi trabajo a otra persona. después de todo, no es que me haya ofrecido como voluntaria por deber, responsabilidad o ese tipo de cosas".
Y eso hace… hasta que se decide que la organización debería relajarse y la gente deja de ayudar poco a poco (gracias por colaboraren parte con eso, Yukinoshita haruno)
Y eso hace… hasta que se da cuenta de que Yukinoshita Yukino, la persona a quien le han impuesto un trabajo que no era el suyo para empezar, se está sobrecargando.
Es tras todo eso que él actúa.
¿Su solución? darles a todos un enemigo contra el cual unirse.
¿El enemigo? él mismo, por supuesto. Después de todo, no es como si con eso estuviera lastimando a quienes posrían sentir preocupación por él o algo así. Porque, ya sabe, tales personas no existen. Jeje.
Esa solución funciona… de cierta manera. Pero yo divago. Vamos al final del festival cultural, ¿sí?
*La presidenta del comité huye.
*Hikigaya la encuentra, pero no logra convencerla para que dé los premios y el discurso de cierre.
*Hayama y compañía aparecen, pero tampoco logran el cometido mencionado anteriormente.
Ahora, tenga en cuenta que se está corriendo contra el reloj aquí, así que soluciones, soluciones.
Oh, espere, a Hikigaya se le ocurre una muy, muy genial.
Sí, implica decirle cosas desagradables a la presidenta, hacerla sentir mal y quedar él mismo como el malo ante todos los presentes (y los no presentes también, porque rumores)
Eso funciona, por supuesto, y todo está bien en el mundo porque lo que importa es el resultado, no el modo en que fue logrado. Sí.
No, ahora ya hablando objetivamente: si este fuera un libro independiente, definitivamente lo recomendaría. No quiero decir que no lo recomiendo pero, bueno, para entenderlo hay que pasar por los 5 volúmenes anteriores, porque hay un punto de inflexión justo aquí.
This entire review has been hidden because of spoilers.
April 3, 2018
Yukino is finally back in the book and it always makes the story more interesting. We are finally starting to understand her better and better and she is slowly but surely developing as a person. Hachiman on the other hand has one of his lowest points in this book. There were some really complex ideas about society and people in general. Sagami was a good character in the way I could hate her easily. Also as always the ending was really strong and there were some strange things as well.
December 3, 2021
⭐ 4.5/5
This book is the turning point in the series. Until now, I had the impression that the story was slow and that the characters were not getting much development. It was basically just Hachiman's inner thoughts or monologues mixed in with some character interactions and there was little to no suspense or drama. So, I was getting curious as to why this series was so well-received. However, with this book, that is no longer the case.
This was a fantastic read.
This book is the turning point in the series. Until now, I had the impression that the story was slow and that the characters were not getting much development. It was basically just Hachiman's inner thoughts or monologues mixed in with some character interactions and there was little to no suspense or drama. So, I was getting curious as to why this series was so well-received. However, with this book, that is no longer the case.
This was a fantastic read.
October 3, 2024
As someone who has watched the anime three times over, this book is the one to really read if you want to see more of Hachiman's inner monologue. Like the show, this "festival" arc is a turning point in Hachiman's growth by starting to realize he hates who he is but doesn't regret his path until now. If you're this far in you know why you're here; the character development of all members of the service club, the fun setting, and the breath of fresh air that is Hachiman Hikigaya.
April 24, 2024
Excellent!
The plot is well-structured in this volume and all chapters contribute to it. Unlike the previous volumes, Totsuka is fully integrated into the story which I am happy about. Meguri is a pleasant character to add to the cast and she fits well into the plot.
The illustrations are good, but I liked the ones in the previous volume more.
I can highly recommend this book.
The plot is well-structured in this volume and all chapters contribute to it. Unlike the previous volumes, Totsuka is fully integrated into the story which I am happy about. Meguri is a pleasant character to add to the cast and she fits well into the plot.
The illustrations are good, but I liked the ones in the previous volume more.
I can highly recommend this book.
August 29, 2017
very impressed, I didn't expect a rom-com light-novel to be this deep. I mean earlier books were deep, funny and interesting, but book 6 really raised the bar of the entire series.
highly recommend people to read it, you won't regret it.
highly recommend people to read it, you won't regret it.
January 3, 2021
It's crazy how a light novel can teach more about life than hundreds of nonfiction books out there. I thought I was like hikigaya in the beginning but after this volume I can see myself in all the characters. Character's are carefully crafted in this series and I can't wait to read more.
November 28, 2022
Best up untill this point. Great climax for first big arch. Combines the best traits from all main characters and a great number of paragraphs where you can read in between the lines. Also big improvement on the art front; more detail and no unnecessary fan service.
November 28, 2018
Hard to rush through this series, but still fully enjoying the relationships in this series. I can't decide who's the better girl, however...
January 30, 2019
I'm getting a copy of this because it's Yukino.
May 1, 2019
My favorite light novel series!
September 26, 2019
There we go.
June 28, 2020
Hay luôn
July 1, 2020
I give 3 stars because freakin sagami took the other 2
April 5, 2016
This is really a wonderful series of books and it was very interesting for me too read too. Not only do you get to see a world through someone else's view but you can also feel how the main character feels.
In this particular book the main protagonist Hikigaya Hachiman is dragged into a planning committee to come up with the best festival for the entire school. He faces a lot hard decisions for example when he had to go find the committee president when she left out of the blur and didn't return back for a while. There were also a lot of heartwarming moments another great example would be when one of the main protagonists friends Yuighama was talking to him and said that she really enjoyed the club and that she doesn't want it to end.
I recommend this book to all teenagers and young adults because it is simply just magnificent. It can show the reader how some loners feel and can make the reader have a fantasy about it also. Let me end my book review with a question how is your romantic comedy doing.
In this particular book the main protagonist Hikigaya Hachiman is dragged into a planning committee to come up with the best festival for the entire school. He faces a lot hard decisions for example when he had to go find the committee president when she left out of the blur and didn't return back for a while. There were also a lot of heartwarming moments another great example would be when one of the main protagonists friends Yuighama was talking to him and said that she really enjoyed the club and that she doesn't want it to end.
I recommend this book to all teenagers and young adults because it is simply just magnificent. It can show the reader how some loners feel and can make the reader have a fantasy about it also. Let me end my book review with a question how is your romantic comedy doing.
August 12, 2015
Well, this one hurt like a motherfucker.
This is the reason I started reading the novels, really. To get to this exact point.
Hikigaya Hachiman's views on the world and people are bitter, resentfull and realistic. He overthinks things and tries to solve problems while taking every party into consideration, triying to help everyone even if that means hurting himself in the process.
That's the saddest thing. He's the kind of person who once opened his heart and, upon its breaking, closed himself in his mind and stoped trying to impose his presense over other people. He doesn't want to be a burden and tries to play his loner persona with self deprecating humor because he knows that if he doesn't do it, his heart will inevitably break again.
He gets no praise for his problem solving methods, so you can root for this guy while still being aware that he really is not great at managing his feelings.
I really, really like this.
This is the reason I started reading the novels, really. To get to this exact point.
Hikigaya Hachiman's views on the world and people are bitter, resentfull and realistic. He overthinks things and tries to solve problems while taking every party into consideration, triying to help everyone even if that means hurting himself in the process.
That's the saddest thing. He's the kind of person who once opened his heart and, upon its breaking, closed himself in his mind and stoped trying to impose his presense over other people. He doesn't want to be a burden and tries to play his loner persona with self deprecating humor because he knows that if he doesn't do it, his heart will inevitably break again.
He gets no praise for his problem solving methods, so you can root for this guy while still being aware that he really is not great at managing his feelings.
I really, really like this.
August 13, 2021
This volume marks a turning point. Not because if you're like me and you watched the anime, this is the point season 1 ends and the tone changes drastically towards season 2, but because the story in and of itself is at an important point of sorts.
I can't say much in detail in praise of this light novel, but luckily others here have written amazingly in depth reviews. But I will say that this volume, along with the previous volume which involved Hachiman finding out the truth about Yuigahama, are two volumes which have left mere entertainment completely and have given us OreGairu's deep and pointed observations, criticisms, and perspectives on society and youth.
If this series, and especially this book, were not in the form of a light novel, I believe it would certainly be recognised for the questions it poses, the observations it makes, and the criticisms it throws.
A must read.
I can't say much in detail in praise of this light novel, but luckily others here have written amazingly in depth reviews. But I will say that this volume, along with the previous volume which involved Hachiman finding out the truth about Yuigahama, are two volumes which have left mere entertainment completely and have given us OreGairu's deep and pointed observations, criticisms, and perspectives on society and youth.
If this series, and especially this book, were not in the form of a light novel, I believe it would certainly be recognised for the questions it poses, the observations it makes, and the criticisms it throws.
A must read.
June 26, 2019
Here's where things startes to become dark. Choosing to follow his own path, Hikigaya deal with the problem in his own terms: fair and square, straight on, despicably and maliciously. Certainly one of the best developments so far. Love it!
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