Now that her bond with Toya has healed her heart, Chiyuki wants to live her life to the fullest. What she doesn't know is that Toya has refused to make the full partnership with her. He doesn't want to doom her to a thousand years of life. Chiyuki swore to Toya that she would never leave him alone, but is that a promise she'll be able to keep? -- VIZ Media

Seventeen-year-old Chiyuki Matsuoka was born with heart problems, and her doctors say she won’t live to see the next snow. Toya is an 18-year-old vampire who hates blood and refuses to make the traditional partnership with a human, whose life-giving blood would keep them both alive for a thousand years. Toya still can’t shake his blood aversion, even though Chiyuki would happily share hers with him, and the malnutrition is starting to take its toll. Chiyuki tries to supplement his diet with solid food, but that’s just barely enough to keep him alive. Can Chiyuki fi nd a way to support her vampire when he refuses the help she knows he needs?

Now that her bond with Toya has healed her heart, Chiyuki wants to live her life to the fullest. What she doesn't know is that Toya has refused to make the full partnership with her. He doesn't want to doom her to a thousand years of life. Chiyuki swore to Toya that she would never leave him alone, but is that a promise she'll be able to keep?

The heavenly tribulation's genius, Tang Ming, unfortunately died in the thunder tribulation. When he woke up, he discovered that he had transmigrated into a son-in-law from Earth. "With the cultivator's memories of his past life, he managed to topple the world and live a carefree life." If you want to depend on strong people, then you might as well work hard and become strong! "

Seventeen-year-old Chiyuki Matsuoka was born with heart problems, and her doctors say she won’t live to see the next snow. Toya is an 18-year-old vampire who hates blood and refuses to make the traditional partnership with a human, whose life-giving blood would keep them both alive for a thousand years. In order to save Chiyuki’s life, Toya finally bonds with Chiyuki. But what she doesn’t know is that Toya has refused to make the full partnership with her. He doesn’t want to doom her to a thousand years of life. Chiyuki swore to Toya that she would never leave him alone, but is that a promise she’ll be able to keep?

Appropriate for any public library collection, this book provides a comprehensive readers' advisory guide for Japanese manga and anime, Korean manhwa, and Chinese manhua. Japanese manga and anime, Korean manhwa, and Chinese manhua are Asian graphic novels and animated films that have gained great popularity in the last ten years and now are found in most public library collections. Mostly Manga: A Genre Guide to Popular Manga, Manhwa, Manhua, and Anime is the first readers' advisory guide to focus on this important body of literature. This guide provides information on all of the major manga and anime formats and genres, covering publications from the early 1990s to the present. It identifies important titles historically and provides a broad representation of what is available in each format. Selected major titles are described in detail, covering the general plot as well as grade level and pertinent awards. The author also discusses common issues related to manga and anime, such as terminology, content and ratings, and censorship.

What do images of the body, which recent poets and filmmakers have given us, tell us about ourselves, about the way we think and about the culture in which we live? In his new book A Body of Vision, R. Bruce Elder situates contemporary poetic and cinematic body images in their cultural context. Elder examines how recent artists have tried to recognize and to convey primordial forms of experiences. He proposes the daring thesis that in their efforts to do so, artists have resorted to gnostic models of consciousness. He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception. The works of Brakhage, Artaud, Schneeman, Cohen and others lie naked under Elder’s razor-sharp dissecting knife and he exposes the essence of their work, cutting deeply into the themes and theses from which the works are derived. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.