#psoh wandering ark

[howlingmoonrise]

Thoughts on Petshop of Horrors: Wandering Ark volumes 1 & 2

(also on dreamwidth)

HOW did I manage to miss the translation of my long-awaited Papa D PSOH series?? I've been stalking it ever since I found the announcement and somehow the fact that @ruthlessnightsscans​ already put out the first two volumes completely went past my head.

Obviously I had to read it right away, sleep be damned.

this is the edited version of my brain thoughts after i managed to get two sleeps and calm down a bit or it would be a lot more incoherent

The art: the initial pages really remind me of the old art! Unfortunately it goes back to the roundness prevalent since the Shin series (which has only become even rounder with time) not long after. That art style is also a lot less dynamic than the original, I find. It's a bit of a problem on scenes that are supposed to have some tension caused by movement. This is nothing new since, like I said, Sensei has been using this art style since a good while ago. I really miss the original art though. It had a major nostalgia punch to it and a lot more feeling as well.

-- First chapter: "I am on a journey with no destination in mind" just say you're on vacation and go off I guess. 

Papa is... weirdly easy-going. I want to say it's because he's not yet mad with grief and his son being taken away and so on, but the glimpses we saw at his time in university definitely didn't paint him this soft. There's no edge to him, on this volume or the next. 

Regarding the story itself, I can't say I loved it but it’s not the worst out of all of them (there are four in total between these two volumes, and a third volume is on the way). I liked Koushun's character, but Seiyou annoyed me, especially when he presumed to know what she wanted (or perhaps he didn't presume, but decided for her what was better anyway) - something like I Shall Revive This Species So Breed In My Name Okay Bye. Note also that while Koushun was willing enough to marry (thinking she was marrying someone else but that's another point entirely), the groom himself came in chains. And then Seiyou... locks them in together? Great. Just great. Very conducive to a loving mood indeed, locking a woman with a potentially dangerous stranger who might cause her harm and telling them both to fuck (note. the. chains. you don’t put chains on someone you think is harmless; they never put any on Koushun even when she attacked Seiyou). I was afraid for her when it cut to another scene here, with the last we saw of her being pushed against a wall and being told by the groom that it seemed that he would have to make a child with her. "Rather than hate each other, I want to break that curse"? Seiyou, sweetie, that is NOT the way to make them not hate you. ((The reveal that Koushou is some sort of creature - very PSOH-y - does not help, since putting two wild animals together without them being used to each other is perhaps even more likely to them killing/harming one another.))

MAJOR little mermaid vibes on Koushun standing over a sleeping Seiyou with a knife. 

There are quite some parallels with the D species on this tale of bloodshed and revenge. The Ds could stand to learn from this, though historically they don't. "Even if you kill the third prince, the Kagetsu people are already gone. They won't return." Papa himself says that 'winning on the last available tile' is a waste of time, which really resonates with his research into reviving lost species and the issues of his own kind. A reference to the health of descendants when no new blood is introduced is also made here, which might or might not point to our D depending on where in time this Papa is from.

--

Second chapter: it's... frankly, super choppy. The story is all over the place. On the author's note, Akino herself says that it's a challenge to put the whole life of that empress in 57 pages, and I have to agree. Either it should have been cut to the REALLY relevant parts and worked on them some more, or be discarded in its entirety. It's too rushed. The whole first part was unnecessary: it could have started with her already working at the palace or being chosen as a concubine, and then made references to her previous life in her thoughts instead of wasting several pages on it when that backstory won't be going anywhere (except for some references to Hakubun whom she sees on that other actor - who dies like, two or three pages later, so that's that on that). I do like Ranji herself as a character: she's clever and quick to pick up on things. Her life is just a series of tragedies one after the other, unfortunately. 

Papa D is some sort of benevolent helper in this chapter for some reason - this pattern repeats somewhat on the next chapters, but on this one there isn't really anything to gain for him at all, other than perhaps his dubious acquaintance with one of the concubines/future empress, which wouldn't really hold much weight since he met her ?once? apart from near her death.

And then, somehow, the initial Papa D in this chapter was actually Sofu?

Sofu???? I'm calling bullshit. As far as we know - going back to Sofu's own series and flashbacks on the original PSOH, even - Sofu never had a hairstyle of that length, and out of our three known Ds (new!D excluded) he's the one least likely to help a human just because. The ark is also said to travel through space and time, so I'm saying that's Papa D and that's it. Fun aside: on this chapter, Papa says he's the "third generation", meaning that on this series he's probably the youngest existing D (and by inference our D does not exist yet).

Also, some issues with in-story continuity here: when the last emperor dies Ranji still looks fairly young and the emperor-to-be is three years old, a couple pages later she looks a lot more aged but the new emperor is still three years old. To be honest, I think the story would have been tied off much better if A-chan had some connection with Hakubun or the eunuch instead of each having their very brief, individual emotional connections to her - which, in turn, doesn't really make them memorable. The "wishes" thing was interesting, really called back to the old PSOH tradition with the mystical pets and bittersweet be-careful-what-you-wish-for endings.

--

Third chapter: I think, overall, this was probably the one I liked the best. Can't really bring myself to call it my favourite though, since none of them even begin to compare to the original PSOH chapters. I cackled at the "jawline is too sharp" dialogues and thoughts: with this art style EVERYONE has the same round jaw as every other character, and it's the furthest thing from "sharp" possible.

With this series it really seems like Sensei is giving more focus to trying to tell historically-accurate stories rather than focusing on the stories themselves, as there is a huge amount of superfluous historical information to be found in these volumes. 

The empress Elizabeth reminds me of Sofu, in truth. She won't "mind" affairs and the like (read: she will hate it but ignore them) as long as it works towards her ends. Her taking away the newly-born child is a huge parallel to Sofu regarding both Papa and D, and D and new!D. Child-snatching FTW! That being said, I actually kind of liked her, ruthless as she was: the whole reason why Sophie made it as far as crown princess was because Elizabeth valued her hard work. You don't get to hold an empire together without having a steel spine and a cunning mind (or people to do the work for you I guess, but here it doesn’t seem to be the case).

I hate that Sophie had to change even her name and religion to fit her new reality, accurate as it is to history. That sort of thing always messes me up (throwback to the Nazi/teddy bear chapter of the original PSOH series, where there was also a name/religion change for the sake of survival). Not a reflection on the author in any way, I just hate that this is something people had to go through. As something I hated that kinda does reflect on the author, though, was the ugly = terrible association with Pyotr and the maid. Sophie/Catherine is initially said to not be beautiful but she's not depicted in the same way those two are at all. 

Papa's benevolence is thankfully offset this chapter by the fact that he does have something to gain here. For some reason Ds doing things merely for the goodness of their hearts kind of rubs me the wrong way unless it's D during or post-Leon. 

Most PSOH victims clients: oh a pretty person! WHAT DO YOU MEAN IT'S AN ANIMAL Sophie/Catherine: a dog you say? sounds kinda hot ngl

Gotta respect how she just jumps straight into the dog affairs. The take-back of the empire was also nicely executed, and I'm always here for ladies in traditionally male clothing. 

--

Fourth chapter:

This is linked semi-directly to the third chapter by virtue of the amber room Papa D craved. Marks also the second time that Papa takes a human on board of the ark.

D, circa end of original PSOH, a single tear rolling down his cheek as he watches Leon plummet towards the earth: Humans have not earned the right to board this ark. Papa D: I'm gonna go for a joyride and take along this human and this human and this human and this human and--

Papa really gives Doctor Who vibes on the ark matter. Travelling through space and time, occasionally taking human companions? The one for this chapter - who I'm guessing might be a cameo from one of Sensei's other series, since I didn't recognize him and there was no backstory for him on the chapter - even has era-appropriate wardrobe changes (at least assuming it's the same person and not just someone who looks similar scratch that they have eyes of different colours so I guess Papa has been giving rides to delivery men now), the second of which leaving me very ??? as to WHEN he is from. 

That last Look(TM) reminds me a of Leon Orcot, between the long ponytail and the clothes resembling the ones Leon wore on the last chapter of Shin PSOH (in PSOH time, that would have happened approximately 15 years after the end of the original series, meaning that Papa was already long dead then. Unless Leon's style was just stuck in time, which is also very possible). 

It might or might not have endeared him to me for that exact reason. What can I say? I'm a sucker for Leon Orcot, and apparently also for characters that visually remind me of him. ANYWAY.

Why another Nazi-era chapter??? Sensei plz. One was already enough on the original PSOH - it wasn't anywhere near my favourites back then, either - and the fact that this one mostly followed a Nazi colonel didn't help either. Here we witness them tearing down the amber room, "reclaiming" art from all over the world, a father's heartbreaking sacrifice to “save” his daughter’s dog, and Papa D coming to meet the Nazi dude. One would expect the Ds to avoid genocidal racists given the fate of their own species, but apparently the Nazis were relevant enough for not one but TWO Ds to interact with them. Oh well. Either way, I really don't like how Papa appears to not care one way or another - when the D for the original series interacted with people he didn't like, his mask was really fairly obvious (at least for the reader). Perhaps Papa simply has a better mask. Perhaps those nuances were lost to time and round art styles. Perhaps Papa or Sensei just don't give two shits. Guess we'll never know.

EVERYONE seems to comment on the flavour of Papa's tea: it's 4 out of 4 so far for these two volumes, and in this chapter in particular it seems as if it's laced with some kind of truth serum - it seems to be Papa's version of D's (and possibly Sofu's?) incense from the original PSOH. A reference to the original PSOH's Nazi chapter is also made here, with Papa mentioning that Sofu was on friendly terms with Eva Braun: this implicates that in this time they were in closer contact (not surprising since Sofu probably hasn't stolen his still-non-existent kid yet).

The colonel seems to value art over human life - surprise surprise! - so he kills his own comrades to keep the art "safe". A stomach-turning moment comes where they find human golden teeth being kept as treasure, which Papa mentions remelting to turn into golden nuggets. Why, Papa/Sensei, why? It's in poor taste, even if you're testing the colonel the way D did with some of his clients on original PSOH.

At the very least an eerie moment comes next where Papa explains that dead creatures can be revived using DNA. "Even dead people?" Cue Papa's all-seeing stare directly into the reader's eyes (and presumably the colonel's as well) with a backdrop of an inverted black-and-white multitude of graves as he says that future is not very far. Colonel almost shits his pants, with reason when you consider the amount of people the Nazis killed off that would presumably come after them. This almost forgives the teeth comment, and it's probably the first moment in these two volumes when we see some genuine emotion on Papa's face (on this page and the next), creepy and maniac as it might be.

Colonel dude has spent the whole chapter justifying everything under "orders of the fuhrer" so far. Then comes the moment that Papa calls him out by saying that the orders were to burn his sweet dear art so that it wouldn't fall into enemy's hands, and it's here that we see how much of an hypocrite the colonel is when he doesn't want to follow those orders. Suddenly it's "treasures of mankind" (even though he's been stealing them left and right) and the fuhrer is "a fool" (even though he's been using his orders and his "greatness" as justification for everything). 

Suddenly, Papa's companion! Who the heck is that! Shoots him! This is someone whose family was killed by the colonel (directly or under his orders) or so he says; he's gripping a piece of art we don't get to see, which is presumably the reason for those deaths. Now in the future! A guy who looks a bit like that other man who shot the colonel, but who I'm not 100% sure if it is or is not the same person because the round art style makes everyone look alike Someone who is definitely not the same guy because his eye colour is different (and who's dressed in a sporty outfit with a long ponytail, which I've mentioned kinda reminds me of Leon) looks for the amber in the place the art was stored, alongside Papa. He flies on the ark (all these humans on the ark, Sofu would have a conniption!) and reminds me of Leon once more while being shouty and holding on to the main mast for dear life.

The sacrificial father mini-plot also gets resolved with the dog returning (but not the father himself) along with a picture with that family. Which is presumably the picture the other dude who shot the colonel was holding, which begs the question: how is he related to them? He doesn't look like any of them, but he did say the colonel killed his family while (presumably) holding that same picture, so hmmm. Maybe he's the dog, colour-scheme aside? But apart from the father, the rest of the family seems to have survived, so it's kind of a strange thing to say since that sort of wording usually means more than one person. Even if he is the dog (my money is on that option), it's not exactly obvious to a reader who's not looking very closely. Some loose ends there, or at least ends that don't really look like they're tied together at all.

"No matter how long winter is, spring will come." Fairly hopeful final words there, Papa D. These echo similar ones spoken by D at the end of Shin PSOH, after running from Leon once more ("someday, the season for returning will come"): perhaps both these Ds are not as pessimistic as to their future, at least at this point? Poor Papa definitely had a change of heart between his series and the ending of original PSOH, unfortunately.

--

General thoughts: Sensei hasn't quite managed to replicate the feeling of the original PSOH just yet. The storytelling feels a bit shallow and rushed, though the pacing improved from the first volume to the second. There's also very little focus on Papa himself for some reason: he's more of a background character on his own series except for the fourth chapter, which is a very strange narrative choice. In part this might also be because he doesn’t have a permanent companion to discuss/argue with like in previous iterations of the PSOH series. I wonder if the third volume will continue on this trend? I wish it’d delve a bit more into Papa, but either way it’s still nice to get some more PSOH content.

I've heard Vesca will make an appearance next volume, I'm so excited!! Out of Shin PSOH, my favourite chapters were Leon's (surprise surprise!) and the ones with Papa and Vesca on their university days. Papa definitely seemed a lot sharper there, which I miss here - I feel like Sensei has been smoothing out all their edges like with the art style lmao, and in turn it makes them feel a bit lacking since the Ds are not meant to be bland and forgiving and easy-going, at least as per their original portrayal. I've also seen sneak-peaks of Leon and D from author notes of the next volume so I can't wait at the chance to weep at the slightest panel of my son Leon.

A final shoutout to RNS for continuing the PSOH translations! I really can't thank them enough!!

[howlingmoonrise]

Thoughts on Petshop of Horrors: Wandering Ark volume 3

(crossposted from dreamwidth)

me realizing a whole-ass 25 pages of the last volume of the papa series are just sensei's travel logs:

what did i do to deserve this, honestly? sensei i love you and all but THERE WERE SO MANY OTHER THINGS TO COVER ABOUT PAPA. AND YOU DIDN'T TOUCH THEM. AT ALL.

To start with, there's only two actual chapters in the volume, keeping in line with the previous volumes. A whooping total of 103 pages out of a 128 page manga - except, a good portion of one of them is pretty much just rehashing the events of the last volume of the original manga, so it's not exactly like they're overflowing with juicy new content. Vesca and Victor fans will be pleased at a new glimpse of them both though, with emphasis on Vesca. 

Oh, you wanted an explanation for the ark? For why Papa was going around supposedly through "space and time", with a reason other than "well, I wanted to draw stuff from other eras but I don't want to write a whole new manga with a D from back then"? There's none. N-O-N-E. Zilch. Zip. Nada. Niente. Nothing about his relationship with Sofu (though they do briefly meet on Victor's funeral - and wow, am I surprised Sofu deigned to show considering how much he loves humankind), nothing about D or Papa's relationship with him beyond an outsider's point of view on the events of the last manga, nothing about the D species in general or glimpses at previous Ds that were likely alive before our D came into being.

Another bad point: what the hell was up with the cover art? 

The top portion of it is fine, but why does the rest of it look like whoever painted it forgot how to shade things? Look at that belt. Look at those sleeves. That's all I have to say on this subject.

On to the chapters themselves!

--

First chapter:

Papa D helps with The Bachelor. No, really. It's literally a Bachelor-style show, recorded for TV, with one single man and twenty ladies competing to become his wife. Trigger warning for almost-rape in this chapter.

I'll be honest, I liked the main character for this chapter. She's a go-getter, and a survivalist, and prefers stuffing her face with food instead of flirting away the night. Honestly? Mood. I really liked the butler too. I was going on a "oh, is he going to be the actual love interest?" line of thought since he looked interesting, and then went "nah, they're not focusing on him at all beyond that one (1) scene where they were dancing, guess he's just a side character after all", only for him to actually turn out to be the final love interest. That was. Hm. To say that it was majorly underdeveloped is to put it lightly, but the "prince" wasn't great either. The attempted rape felt as if it was shoved in because they were running out of pages though, since the rest of what we saw from his personality seemed a lot mellower than that.  

The ?prostitutes? were an unexpected bright spot, even though they only showed up for a couple of panels, but it was nice that they gave her food (however dismissively) and tried to get the other guy to leave her alone, and that they were simply described as "beautiful" instead of anything else.

OH BUT. Papa hitting the would-be rapist over the head with an oar was great, it actually gave a bit more dimension to him since the Ds are usually so unwilling to dirty their own hands when it comes to violent business: at most they would usually let their pets do the work for them.

Which actually brings me to another question.

I've already said before that Papa is at most a side character on his own series, and that he actually barely gets involved at all apart from a few nudges here and there - but it's kind of jarring that he almost never "sells" a pet in this series. On all volumes including this one, there are only two chapters where he gives away a pet that was already with him and that didn't initially belong to someone else that he was just returning: the dogs from the Austria chapter, and the bird from Empress one (who was actually said to be given by Sofu, but I'm calling bullshit since he had long hair and this is supposedly a time-travelling ark). It's definitely a weird choice for a manga whose title is, quite literally, "Petshop of Horrors".

Also, for a FLYING ark there sure seem to be a lot of water-related incidents.

Thoughts on the family thing down on the general thoughts section. Also, WHY IS IT AN OAR AGAIN? WHERE DID THE BUTLER FIND AN OAR, SINCE IT SEEMED LIKE IT WASN'T PAPA LENDING IT TO HIM? I can't say the penguin thing was a huge twist considering previous chapters, but it makes me wonder that so many of Papa's stories are directly about either humans or animals, but rarely the conjunction of both apart from brief exceptions. 

--

Second chapter: Nice callback to the original PSoH on the first page: I'm extremely fond of that description of the Ds, and it's fitting for a final chapter of a PSoH series. 

This chapter is a cameo for Victor (from the Sofu series which I haven't read yet but know some things about), and a full appearance for Vesca. Victor seems to have chosen the same path as Leon, though arguably he'd actually have the money for it since he's a baron. Travelling the world following rumours and sightings, in search of someone they considered to be dear to them? Sign all three of these blonds up, because it seems to be a tradition at this point. The Ds really have a type, huh? Truth be told, from what I heard of Victor I didn't think he'd be the adventure-seeking sort, so this was a bit of a surprise. He looks cute and happy piloting planes and running from rhinos so I guess that's all that matters though.

BUT WHY DID HE HAVE TO DIE POOR. He looks like a huge cinnamon roll so I feel super bad for him, I bet they all resented the money he spent trying to chase Sofu D across the globe once the Great Depression hit :/  

And then, bam! Sofu cameo. This is the chapter where EVERYONE gets a cameo, copy-paste of the last chapter of OG PSoH or otherwise. He's cryptic as usual, and I REALLY didn't expect him to remember Victor's name, much less show up to his funeral. Not that he even looks like he's grieving; he pretty much only speaks of Hitler and Eva Braun's kirin, to Papa's seemingly frowning disapproval (I haven't complained about the round art style on this volume's commentary yet so consider this to be it: the only reason why Papa even looks put out is because he has a Very Clear Frowny Line, because otherwise he just looks normal... and round). 

And then finally, some actual Papa content! Or, er, Vesca content. Both. Let's go with both. I don't want to make myself sad thinking about how little we saw of Papa on his own series. Here we see once again mentions of extinction and of resurrecting species, and finally a throwback to why the ark is an ark: "Noah's Ark". It took me RNS' translations of OG PSoH to understand the reference back on the original, because on Tokyopop's mangled translation the ark is merely a flying boat. 

It's nice to see that Vesca has a strong sense of justice similar to my dear boy Leon Orcot, since it was a bit iffy on the original manga. He's righteous (and right!) about the other Professor using Papa's research, and how Papa should have the benefits of it for himself since he was the one doing the studies. Papa, however, cares little about money or glory: even now his focus is on recovering the blind bird species from their trip to Greece (see: Shin PSoH), and here we see once again his hopeful view that one day he may be able to help them see again. Parallel to his own family much? Honestly, I feel for him.

WHAT IS IT WITH PEOPLE SHOOTING PAPA? At this point he's trying to reach for Leon's record - and failing, because Leon gets shot and mauled a frankly unholy amount of times during the original PSoH, so no one else can ever really compare. What really breaks my heart here is that he actually asks why. Sofu and D would both have simply taken it for granted, but Papa (seemingly, up until this point) doesn't automatically assume the worst of every human being he comes across. That pained why kills me a little bit, here, and soon after he grows cold and allows the more murderous side of that contract to go loose.

That page with Vesca going into the FBI really throws me back to the panels on the original PSoH right before/right when Leon decides to chase after D. Part of the background is blank, the other part a faint image of the city and Chinatown, with a sense of detachment associated with them. I could probably take the time to place them side by side and compare fully, but uh. I may or may not be stretching my workday bedtime a little too much to finish writing this, oops.

Also, an echo to the original PSoH with Papa's death, called back with him nearly being shot in the middle of the forehead. The actual event is brought in shortly after Vesca gets to mind-rant about the Ds and his search for a few pages, and then flashback flashforward time! A whole six pages which are just portions of OG PSoH's last chapter redrawn from another angle. It's implied that Vesca was able to board the ark like Leon did due to a similar scene with lying in the clouds and sighting the ship amidst them, though whether he was able to stay or not is a whole new story. This is where the actual story ends.

--

Sensei's travel logs: I'm not going to bother going into these. It was nice to see some glimpses of my son (forever a Leon stan here!) and a cameo for Taizuu also showed up a little later on if you're one of the people who liked him (personally, I would trade Taizuu in for a cornchip and a ball of lint). I'm going to make the executive choice of pretending that the D/Leon bits are what's actually happening right now after Leon caught up to D. It's lovely to see them on vacations, and Leon has mellowed out a little bit while D seems extremely comfortable and content with his favourite ex-detective's presence =v=

--

General thoughts: All the series so far seem to have some sort of theme, which kind of ties into the main character of it and their own arc. The original PSoH, for one, was focused a lot on family and greed and love and desire: our D, similarly, had plenty of unresolved issues surrounding his bloodline and things that he wanted but that he couldn't/was not allowed to have because of that very blood.

You'll have to forgive me if my interpretation of Shin is spotty since I only read around half of it (online scans only went up to volume 6 or so, physical versions of the Tokyopop translations were discontinued, and ruthlessnightsscans started scanlating it after I’d already read the available chapters for Shin), but from what I remember of it it seemed to bring in softer, more loving and lighthearted stories, usually tied around romance and being kept apart from things they want/love. The two non-Leon chapters that immediately spring to mind are the Romeo and Juliet Mafia AU, and the one where the lady got pregnant from her dead husband and was able to live on due to that renewed hope. D himself seems to have turned a new page: he hangs around humans on his leisure time (bless those drag queens), takes a vested interest in happy endings for others even if not for himself, and seems overall less inclined towards gruesome murder.

(You'll have to forgive me, but I actually haven't read the Sofu series at all yet so I can't analyse that one. I wasn't even aware RNS had scanlated it until recently, but then again I hold a lot of rage against that slimy bastard (Sofu, not RNS, RNS are baby) and so I'm putting it off indefinitely. Oops?)

And then there's this one. It's probably no coincidence that so many of the stories are about reproduction and birth and continuing a dying species: this is something that chases Papa all the way from his college days not even considering his childhood, which we don't actually don't know about but can make an educated guess at down to his issues with his son and the faint madness of his last years. Even his death plays into this theme, with it ultimately working as an way to keep the D line alive. It makes me think that Papa being kept from his position as a main character in his own series might actually be somewhat purposeful, though the decaying quality of the latest PSoH mangas makes me think this is not the case. I'll have to read the Sofu series to make a better judgement on this, depending on whether or not Sofu is or is not treated similarly. 

Another theme: being haunted by the dead. I think this is actually present on almost every chapter of the Wandering Ark series, though we may disagree on the levels on which it was shown and how easily it is or is not divorced by my previous point. A reader that reads this series on its own will likely find Papa a very bland character and will not grasp onto the nuances of these themes and how they are connected to him, IMO. These conclusions and these hypothesis are drawn by virtue of the first manga alone; it's because of it that we're aware of how Papa himself lives for the species who are long gone, his own kind included. Most of the characters on Wandering Ark push through the suffering and the sorrow of their dead to go beyond their limits and become greater and independent, which is another parallel to Papa since he's the only one of the Ds who has an objective beyond simple (and inefficient) vengeance.

Overall, there's little else I can say that I haven't said already, either here or on my previous post for the first two volumes of the Wandering Ark series. There's a real sense of isolation and detachment on Papa's side (though he seems more benevolent than the other two Ds were), but as I said I'm not sure if it's meant to be purposeful or not, though Sensei's choice to not give him an actual companion thorough his series is also telling. The pacing was also better than in the first chapters of this series, though there was that issue with the ending of the first chapter of this volume. I also still can't say this enough, but it's really strange that Papa is such a side character on his own series??

Final thoughts: we were robbed.

At least Sensei hinted that her journey with the Ds might not be over yet, though if we get another Sofu manga I can and I will riot.