Kurimanju God Arc

Story guide

On a white background, Chiikawa, Hachiware, and Usagi stand side by side with lines showing small movements around their bodies. Chiikawa makes a short remark, Hachiware thinks about the body, and Usagi responds. Hachiware's speech bubble refers to the body becoming sluggish, so their brief conversation centers on the need to move. With no background or props, the image is driven by their exchange. The fine motion lines reinforce the idea of not wanting to become sluggish by showing them gently moving.

Story guide

A large creature covered in water and crowned with leaves rises from a river and asks Chiikawa and Hachiware whether they prefer a yellowish dried persimmon or another fruit. The two answer that they like both, but the creature hears this and returns to the river, calling it a matter of preference. Hachiware wonders whether they wanted them to say what they really thought. As they try to leave, the creature cries out and comes close again. Though the creature's question only concerns food preferences, it reaches Chiikawa and Hachiware as something difficult to answer.

Story guide

Kurimanju's chestnut-colored head area spreads out flatly, its ears are no longer visible, and its figure is brought into a close-up. Shisa is surprised and cries out, asking what happened. Shisa then confirms that it was attacked and stung by a swarm of mosquitoes, causing the pattern on its swollen spots to wrinkle, and expresses that since its ears are itchy too, they are letting it lie down and rest. When Hachiware arrives, Shisa urges them to line up, and the three stand together in a horizontal row. Shisa says they are matching, and Hachiware says he will go get the camera and runs off.

Story guide

Usagi, Chiikawa, and Hachiware stand in a row against a white background. Usagi holds a hand in front of their face, while Chiikawa and Hachiware look in slightly different directions. With no dialogue, background, or props, the image does not develop a particular event or conversation. It stands alone as an illustration from this period that shows the three at close range. Placing them at similar sizes lets the viewer quietly compare Usagi's hand gesture with Chiikawa and Hachiware's differing gazes.

Story guide

At a computer, Rakko finds a strange search phrase about hamburgers and pickles on the screen and is left standing there without knowing why it is there. Chiikawa watches beside them as the same words keep appearing. Rakko tries to check where the words break and what they mean, but finds no further clues while someone behind them keeps typing on the keyboard. The meaning of the search phrase remains unsolved, leaving Rakko with only their question.

Story guide

A design illustration lines up the round faces of Chiikawa and others wearing ribbons, with a total of eight faces arranged: three in the top row, two in the middle row, and three in the bottom row. The ear shapes vary, drawn distinctly as small round ears, cat-like pointed ears, floppy ears, round ears with whiskers, and so on. The ribbons vary in color—pink, light blue, pale yellow, black, and gray—and are tied at the base of the ears or on either side of the head. Some are paired with accessories like beret-like headwear or collar decorations. In the center, the English letters RIBON are placed twice vertically, with an image of a black ribbon placed between them. There are no speech bubbles or dialogue, making it a single illustration where events do not progress.

Story guide

On a white background, this standalone illustration scatters Chiikawa's small face and Usagi in various poses. Usagi appears facing forward, in profile, lying down, and in compositions that enlarge only their ears, exploring how the same body shape looks from different angles. A shrunken figure in the center also plays with differences in scale. It does not continue a story conversation or action, ending instead as an image for observing the two characters' forms.

Story guide

Shisa runs at full speed down a long corridor while humming a jaunty song. The lyrics say to dash out without waiting for a signal and that tomorrow will surely be free, and Shisa bounds onward in high spirits. Spinning as they go, Shisa sings about wanting to convey these feelings and declares that the one they love is you. Shisa then pulls out Ame-P, a peanut snack in a red bag, revealing it as the addressee of the song. Finally, Shisa stuffs their cheeks with Ame-P and concludes with satisfaction that they love it.

Story guide

Shisa tells Hachiware, whom they have been seeing often lately, that they are now able to work, and says that the people at home would be pleased to see a printout. Hachiware agrees to go with them and looks forward to a paper bearing Kurimanju's image as well. The two set out for what they expect to be a pleasant place, but an unfamiliar entrance hung with lanterns appears ahead. The scene ends as they enter it while still expecting something good.

Story guide

At a festival lit by lanterns and a bonfire, people around them repeatedly sing for good fortune. Shisa and Hachiware enter while listening to the singing, and as they join the line, they notice that a large figure on the altar holds a small figure against its chest. The singing grows louder, and the two stop before the sight. What begins as a cheerful festival is also shown to be a place of prayer.

Cultural and language noteLanterns, bonfires, and songs wishing for good fortune evoke Japanese festivals and worship. They are used here not to describe a real festival, but to convey the heat and prayerful atmosphere of the setting.

Story guide

At the altar, Shisa and Hachiware are surprised to hear people call the figure placed there a god. The people say that the figure once looked as though it had been bitten by insects, and indicate that it is now treated as a god that brings good fortune. Shisa tries to confirm that name, but its origin remains unclear. With a small figure resembling Momonga visible in the distance, the two do not get swept up in the festival's excitement and keep wondering why it is treated as a god.

Story guide

Kurimanju tells Shisa and Hachiware that they cannot move while their feet remain tied with rope. Recalling what they saw before, the two wonder whether stretching their neck or shaking their body might let them escape. When Kurimanju makes a large movement, those around them are startled, but the rope around their feet remains. Hachiware worries whether it could be removed in an emergency, while Kurimanju is still left unable to move freely.

Story guide

Hachiware hesitates over whether it is all right to touch Kurimanju, who is being worshipped as a god, while Shisa also worries about the restraint around their feet. A song wishing for good fortune continues around them, and Kurimanju remains on the altar, unable to move under everyone's gaze. The two want to help, but also fear that interfering with a god could spoil the festival's good fortune. They never decide to remove the rope, leaving the wish to help in conflict with the atmosphere of the place.

Story guide

From a conversation about hot springs and drinks, Shisa explains to Hachiware that alcohol can be enjoyable but can also make someone sick if they drink too much. They seem to think that even weaker drinks should be consumed in chosen amounts, and that handling strong alcohol requires qualification. While also mentioning someone whose feet cannot be freed, Shisa sorts out what they would do in a dangerous situation. Hachiware listens and becomes aware of the connection between alcohol and safety for the first time.

Cultural and language noteIn Japan, rules on serving and drinking alcohol relate to age and qualifications. In the story, the exchange shows Shisa's caution about not drinking strong alcohol casually.

Story guide

Near the festival flames, Hachiware quietly expresses concern that they are being stared at. Shisa says it is fine and to leave it to them, then takes a breath, holds up Mitsuboshi, and begins singing loudly a song about entrusting something to beer or something similar. The people around murmur and are distracted by the song, and in that opening Hachiware whispers to make a break for it now and slips away. In a darkened place, Hachiware approaches Kurimanju while letting out a chuckle, and tells them to follow what they are about to say. Kurimanju listens with a surprised expression, and the story ends there.

Story guide

Kurimanju shows their rope-bound feet and asks for their feet to be lowered first. When they stretch their body broadly and roll their neck and shoulders, Shisa and the people around them are even more surprised. The festivalgoers take the change as a new form of their god and praise their height in song. Kurimanju's movement asking for help looks like a sign of blessing to those around them, and the misunderstanding only grows.

Story guide

As the festivalgoers prepare to move to the next place, Kurimanju braces themself to escape at last. Hachiware tries to see whether the rope around their feet can be removed, while Shisa worries that they cannot be moved as before. Kurimanju suddenly runs off, with the singing and fire still continuing behind them. The two follow without stopping them, trying to put distance between themselves and the place where Kurimanju was surrounded as a god.

Story guide

Kurimanju shakes off what had held them in place and moves forward while wriggling their body. Hachiware cries out at the unexpected way they escape. The three, now joined by Shisa, leave the festival as if fleeing, with the bonfire and crowd remaining behind them. Kurimanju is no longer being displayed as a god, but how the people around them receive this is not shown. The episode focuses on the moment the three leave the place.

Story guide

Kurimanju, Hachiware, and Shisa put distance between themselves and the festivalgoers and look back on how Kurimanju had just been treated. Hachiware feels that there is something wrong with calling Kurimanju a god, while Shisa wonders whether anything that brings good fortune is a god. Behind them, the people keep singing words that seek luck. The three do not return to the group and walk away carrying the gap between the title of god and Kurimanju's actual appearance.

Story guide

Kurimanju removes the restraint that had been around their feet and checks that they can move. Hachiware and Shisa see the change and understand that Kurimanju is finally free. The people around them had expected a special form of a god, but the Kurimanju before them looks as usual, and their cheers gradually turn to confusion. Kurimanju leaves without concern for their reaction, choosing to get away from the festival's expectations.

Story guide

The islanders raise their voices in joy, saying how glad they are, and Hachiware also laughs, expressing gladness beside Kurimanju and Shisa. However, the people swarm around Hachiware, and without understanding what is happening, they forcefully pull and drag Hachiware away. As the set-down Hachiware asks what is going on, the surroundings erupt in excitement, and Hachiware asks in return if they are a god. Without getting an answer, Hachiware is dragged away by the crowd, screaming "no" as they grow more distant. Kurimanju and Shisa watch the situation from a distance.

Story guide

A large NO appears on a white background, with Usagi, Chiikawa, and Hachiware lined up beneath it. All three sway slightly: Usagi listens with their ears, Chiikawa looks troubled, and Hachiware has their eyes closed. With no speech bubbles or scene change, the blank space gathers their three different reactions to the word NO. It is not a manga that advances story time, but a standalone illustration that plays with the pairing of text and expression.

Story guide

In a standalone illustration framed by light-blue question marks, Usagi, Chiikawa, and Hachiware stand together. Usagi looks straight ahead, Chiikawa holds a hand near their mouth, and Hachiware furrows their brow. The same mark repeats above and around the three, conveying only that they face a question without an answer. The content or cause of the question is not revealed, and their different expressions of confusion remain central. Rather than explaining the preceding event, the image visualizes the question itself.

Story guide

On flower-covered ground, Chiikawa looks at Hachiware and Usagi in the distance and imagines what might happen next. Images of sprout-like forms, walking as flowers, and chasing a striped figure pass through their mind, but none is a certain future. The fantasy, which also includes a figure resembling Momonga, leads to an image of a small sprout growing before Chiikawa. Chiikawa ends by asking whether they too will change into something, still without an answer.

Story guide

Chiikawa is drawn large against a white background, with a small speech bubble beside them containing a brief phrase that seems to ask about someone else's feelings. With eyes closed and cheeks flushed, Chiikawa conveys complicated emotion through their mouth alone. There is no background or prop, and neither the person addressed nor their response is shown. The image captures a moment of concern about the other person's reaction through only a few words and an expression, without explaining what follows.

Story guide

In a grassy area, someone tells Hachiware that they keep thinking about what to do regarding something from before. Seeing an insect fly through the sky, they try to follow it in case it might offer a clue, but it moves away. Another person beside them wants to think it through together, and Hachiware listens. They then find a long, thin object falling from the sky, and the three turn their attention to this new clue. The answer remains unknown as they look up at it.

Story guide

Shisa recalls the seasonings and oil used in a recent meal and tells Chiikawa and Hachiware what is troubling them. With the two nearby, Shisa suddenly seems to become unwell and lies down to rest. They cannot move right away even when spoken to, and think of having someone notify home. The final image shows Shisa in bed with bandages, as the discomfort that began with talk of food leads to care for them.

Story guide

Shisa remembers the flavor of noodles they had eaten at home and serves the same dish to Chiikawa and Hachiware. The three eat around a table, but Shisa notices differences in the taste and feels that it has not yet reached the flavor of the shop. Even so, they feel encouraged that they can make the same flavor repeatedly and say the word reproducibility. Chiikawa and Hachiware listen with chopsticks in hand, making this a scene of considering both eating and cooking.

Story guide

Chiikawa, Hachiware, and Shisa sit around a table, eating the remaining noodles and talking about the strength of the flavor. Shisa thinks they can adjust it a little more when cooking at home and tries to learn the diners' preferences too. Chiikawa and Hachiware enjoy the meal, and their reactions strengthen Shisa's wish to continue researching. After the plates are empty, Chiikawa still seems to want more, and the final image leaves only a bowl against a yellow background to show that the meal is over.

Story guide

This sketch-like image draws Usagi's head and body at various scales against a white background, focusing on the direction and length of their ears. It mixes a small face-only figure, a profile with enlarged ears, and a full-body front view. The word ears appears beside the drawings, treating the long ears as an easy-to-recognize characteristic of the character. With no conversation or incident, it stands alone as a visual arrangement of Usagi's outline and ear movements.

Story guide

At the table after finishing their Jiro-Style Ramen, greetings of "after you" and thanks for the careful work are exchanged, and Shisa is delighted, their eyes turning into hearts. Hachiware reflects that they ended up eating in a very relaxed state, and Chiikawa also lets out a short exclamation. Still, Hachiware adds that the sense of tension felt at the shop was also nice, recalling the scene where they were bracing themselves at the counter. Shisa accepts that both have their own merits. Finally, moving to the white dome-shaped house, the two say to each other that being able to lie down right away is thanks to the Jiro-Style Ramen they made at home, and a voice mentions that the scent of Jiro-Style Ramen still lingers inside the house, ending with them sniffing the aroma.

Story guide

In this Halloween illustration, Chiikawa and Hachiware stand side by side wearing large mushroom caps as costumes. When Yoroi-san (Armor Knight) shows them a mushroom that appears real, the two become interested in whether it is edible and whether it has spores. A mushroom-shaped figure resembling Kurimanju also appears, and grilled mushrooms are served on a plate at the end. The subject shifts from mushroom costumes to actual cooking, ending as an image that looks forward to autumn food.

Cultural and language noteHalloween is widely enjoyed in Japan as an occasion for costumes and seasonal decorations. This illustration plays by layering mushroom costumes with mushrooms used as food.

Story guide

On Halloween night, Furuhonya and Momonga stand together in costumes with wings and ear ornaments and begin a game of asking for sweets. Kurimanju appears in a pumpkin hat and black clothes, looking for treats to give them. Images of a pumpkin-shaped container seeming to walk are also inserted, as the three enjoy Halloween-style words and props. At the end, Furuhonya and Momonga say they want to play the same game again next time, enjoying the seasonal costumes.

Cultural and language noteTrick or treat is the familiar Halloween call children use when asking for candy. In the work, costumed characters use it as a seasonal game.