Night Beyond the Tricorner Window

                               GN 8

Synopsis:

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Hayakawa and Sanmon are still away and it looks like Sanmon isn't doing or saying anything. In fact, he can only make matters worse until Hiyakawa sends him back to the pond once exercised through the "windows" in the three corners. .. But they may need to meet sooner rather than later. Erica and Sasaki managed to escape from their mother's apartment, but the mysterious cult that touched their entire lives was not interested in letting her go. The name of night beyond the tricorner window is like fate/stay night.

Review

If this was true in the previous seven volumes, it is almost twice as true. Tomoko Yamashita's “BL outside the Sankaku window” is just the name. This is no more of an insult to this series of reviews than the first few times I mentioned it. On the contrary, when it comes to paranormal horror fiction, it remains top-notch, so even BL-shy should give this story a chance. This volume is a bit lighter in storytelling than its predecessor, but it still has a lot to think about about the characters and their world that will affect future storylines and a lot of additional parts.

Perhaps most important of these is a new way for Erika to learn to use her power. Previously, Erica could only use her cursed abilities to harm people. She couldn't take advantage of it, but of course, she was obligated and paid to do it. But when Sasaki, her bodyguard and the only adult she can trust, dies, Erica's desperation leads her to try something new with her innate abilities. It's a bit vague to be exact, but it seems likely that it was essentially cursing death itself as a way to bring Sasaki back to life. It's not only interesting in this particular story, but also in how it relates to the folklore of death (as anthropomorphic anthropomorphism). Author and scholar Veronica Schanoes (Burning Girls and Other Stories) wrote in an excellent folk essay by writer/editor Terri Windling: From the Dead. Most often this is seen in the story of a dead or seemingly dead girl (Snow White, The Sleeping Beauty Story), some of whom were brought back by men or boys, but less well known. . This plays the Yamashita variant with the metaphor of the folktale genre. Rather than the interrupted animated state of Sleeping Beauty, like Snow White, Sasaki looks truly dead. This is important for several reasons. One of them is the relationship between Erica and Sasaki. There is no "real kiss of love" or Disney nonsense in the story of Snow White. Instead, the prince's men dropped Snow White's coffin and removed the poisoned apple from her throat. That's basically what Erica is doing here. No matter what she does in the "death" infected with Sasaki, Sasaki is swinging freely from him and he can come back to life.

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Another potentially important element of this scene is that it can be argued that Erica uses the metaphor of "death chess". In this familiar story, if a person can trade with a Grim Reaper and defeat the Grim Reaper in-game (usually in chess, but depending on region and author), the Grim Reaper must abandon the intended person. This can be seen as a difficult death to struggle for the strength of will or spiritual power, as Erica demands the attention of death before she withdraws from Sasaki. We already know that Erica is supernaturally very strong, so this new application of that power only makes a greater threat to our own power against our protagonist. After all, if Erica can fight death and win, no one in her party needs to be afraid of being killed in their fight.

Of course, that assumes Erika will gladly bring you back. For now, Hayakawa is becoming a persona non grata in the cast, so you might not be able to count on that. Considering what he's learned about his past in recent books, it's coming out of nowhere. Hayakawa is raised in a cult and has almost no sense of right or wrong. As long as he can handle such issues, whatever gets the job done should be the method. For Mikado, who was brought up in a much more sociable manner, this is unacceptable, but it is not a complete breach of contract. He's ready to teach Miyagawa what's wrong with his (maybe even a little enthusiastic) approach. The problem is that Hayakawa is unaware of the need for change. As far as he's concerned, his method works well and Mikado makes it easy for him, but he doesn't want to accept what others are trying to sell him. Not to say, Miyagawa's actions seem to indicate that he is angry with Sanmon, or at least angry and that he cannot see Miyagawa's side. After all, these are the obviously bad people they deal with, so what's wrong with using the harshest methods?

Despite these thoughts and his frustration with Mikado, he doesn't really try to hurt others. Instead, he uses his power to send Mikado from the office to the court and has a pond that they (more or less) chased a few volumes ago. His hope and intention is to keep Mikado alive, but not to hinder him just yet. This seems important because he advocates violence against others. What he doesn't, or maybe doesn't expect, is the fact that Mikado has social skills and empathy, which allows him to connect with women around the house. This important difference between Hayakawa and Sanmon is the cornerstone of their relationship and possibly the continuation of the story. Because if they can't adapt and accept each other's differences, they and the storytelling world may have little future.

This volume looks a bit thin, but it may turn out to be one of the largest yet. Now things come to mind and something big is going to happen between the main pair's rifts and Erica's new skills soon. I still don't know if it's good or bad.

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