Five years of inconceivable peace after two hundred years of war left erstwhile saboteur Toru Acura without a job or a meaning in life--until he saves a mysterious wizard with a coffin on her back. But when the coffin-wielding, silver-haired Chaika Trabant hires Toru and his sister, Akari, to accompany her on a death-defying journey, Toru's life of mind-numbing, meaningless peace is about to end!

A blunt request by Toru results in both the end of Dominica Skoda's hospitality...and a battle over the remains of Arthur Gaz in her posession! Can Toru and his companions defeat a woman invulnerable to swords and magic? And could there be more to Dominica's true motivations than meets the eye...? The manga adaptation of Chaika: The Coffin Princess reaches its grand finale!!

A tip from the mysterious Guy leads Toru, Chaika, and Akari to a means of transportation--and the location of one of the heroes of the battle of the Gaz Imperial Capital, Dominica Skoda. But the journey to Dominica's residence is dangerous, and when the trio is ambushed by a group of monsters, they're saved in the nick of time by a mysterious female knight!

The year is 20XX, and Shinichi Kanou is a pretty typical otaku: he loves anime, manga, games, and light novels, but his devotion to the two-dimensional hasn't always made him the most popular guy around. What he doesn't know is that Japan has discovered a portal to another world in the vicinity of Mount Fuji. The people of the Eldant Empire, though, only have eyes for one of Japan's traditional exports: pop culture. Enter Amutech, a purveyor of "general entertainment" that's secretly run by the Japanese government. Shinichi lands a job as the company's general manager. Now he finally has a chance to put his nerd know-how to good use spreading the otaku gospel in the Eldant Empire. And wait... he has to work with a half-elf maid, an empress, AND a female soldier to get the job done?

Yukinari Amano loves guns. After reincarnating into another world, the young man goes on a journey with Dasa, the younger sister of the girl who gave him a second life. However, while on the road, the pair are attacked by a local deity--an "erdgod." No normal person could possibly defeat one--so when Yukinari uses his knowledge of guns and newfound abilities to do the impossible, he becomes worshipped as the area's new god himself!

"Attack the feudal lord's mansion!" With this bold declaration, Chaika affirms that she'll do whatever it takes--no matter how reckless--in order to fulfill her mission. "I want to leave proof that I lived." And with this solemn wish, Toru ensures that his journey with Chaika will change the world...

Dubbed by his fellow Futurists the "King of Time," Velimir Khlebnikov (1885-1922) spent his entire brief life searching for a new poetic language to express his convictions about the rhythm of history, the correspondence between human behavior and the "language of the stars." The result was a vast body of poetry and prose that has been called hermetic, incomprehensible, even deranged. Of all this tragic generation of Russian poets (including Blok, Esenin, and Mayakovsky), Khlebnikov has been perhaps the most praised and the more censured. This first volume of the Collected Works, an edition sponsored by the Dia Art Foundation, will do much to establish the counterimage of Khlebnikov as an honest, serious writer. The 117 letters published here for the first time in English reveal an ebullient, humane, impractical, but deliberate working artist. We read of the continuing involvement with his family throughout his vagabond life (pleas to his smartest sister, Vera, to break out of the mold, pleas to his scholarly father not to condemn and to send a warm overcoat); the naive pleasure he took in being applauded by other artists; his insistence that a young girl's simple verses be included in one of the typically outrageous Futurist publications of the time; his jealous fury at the appearance in Moscow of the Italian Futurist Marinetti; a first draft of his famous zoo poem ("O Garden of Animals!"); his seriocomic but ultimately shattering efforts to be released from army service; his inexhaustibly courageous confrontation with his own disease and excruciating poverty; and always his deadly earnest attempt to make sense of numbers, language, suffering, politics, and the exigencies of publication. The theoretical writings presented here are even more important than the letters to an understanding of Khlebnikov's creative output. In the scientific articles written before 1910, we discern foreshadowings of major patterns of later poetic work. In the pan-Slavic proclamations of 1908-1914, we find explicit connections between cultural roots and linguistic ramifications. In the semantic excursuses beginning in 1915, we can see Khlebnikov's experiments with consonants, nouns, and definitions spelled out in accessible, if arid, form. The essays of 1916-1922 take us into the future of Planet Earth, visions of universal order and accomplishment that no longer seem so farfetched but indeed resonate for modern readers.