Ming Dynasty, Chenghua 22nd second year - dueling is strictly forbidden. One of those responsible for upholding this law is Tianyi Chen, head chief of the League of Seven Provinces. The Iron Hand Clan, responsible for many hideous crimes must be stopped at all costs, but the Iron Hand is not the only problem for Tienyi Chen. Dongxue Guan, a legendary fighter is taking the law into his own hands and killing those who he thinks deserve to be punished. Who will be the ones to come out on top? Will the Iron Hand be caught? And will Dongzue Guan answer for his crimes?

Ming Dynasty, Chenghua 22nd second year - dueling is strictly forbidden. One of those responsible for upholding this law is Tianyi Chen, head chief of the League of Seven Provinces. The Iron Hand Clan, responsible for many hideous crimes must be stopped at all costs, but the Iron Hand is not the only problem for Tienyi Chen. Dongxue Guan, a legendary fighter is taking the law into his own hands and killing those who he thinks deserve to be punished. Who will be the ones to come out on top? Will the Iron Hand be caught? And will Dongzue Guan answer for his crimes?

Oh dear, it seems I was reincarnated into a modern otome game from a fantasy world! All I ever wanted was to be free of my responsibilities as a countess and I finally got my wish when I was reborn as a commoner in modern Japan. Everything was going perfect, except it turns out this is the world of an otome game and some crazy girl who goes around calling herself the “heroine” is upset at me for stealing all her “events” with the “love interests”… Now she wants me to team up with her against the “villainess”. I’m supposedly just a random NPC, so why am I being dragged into this?!

Gon's new friend Killua may have run away from home, but that doesn't mean his family is willing to let him leave. Killua's parents sent his older brother Illumi to keep an eye on him during the Hunter Exam, and now Illumi has convinced Killua to return to the family business of assassination. Gon is convinced that Killua must have been brainwashed, and sets out with Leorio and Kurapika to make an intervention. But before the newly licensed Hunters can try to talk some sense into Killua, they have to make it past the unstoppable guard beast that is trained to eat all visitors! -- VIZ Media

This is the most complete and compelling account of idols and celebrity in Japanese media culture to date. Engaging with the study of media, gender and celebrity, and sensitive to history and the contemporary scene, these interdisciplinary essays cover male and female idols, production and consumption, industrial structures and fan movements.

For Tohko Amano, a third-year high school student and self-styled "book girl," being the head of the literary club is more than just an extracurricular activity. It's her bread and butter...literally! Tohko is actually a literature-gobbling demon, who can be found at all hours of the day munching on torn out pages from all kinds of books. But for Tohko, the real delicacies are hand-written stories. To satisfy her gourmet tastes, she's employed (rather, browbeaten) one Konoha Inoue, who scribbles away each day after school to satisfy Tohko's appetite. But when another student comes knocking on the literary club door for advice on writing love letters, will Tohko discover a new kind of delicacy?

Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'. Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit. The volume features illustrations from the works discussed and an extensive annotated bibliography. Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.