Manga Discussion Akane-Banashi (Chapter Summaries)

[Daniel]

Akane-banashi is a manga centered on the world of rakugo, a traditional Japanese storytelling art where a single performer brings multiple characters, scenes, and emotions to life using only speech, gesture, posture, and subtle changes in expression. The story follows Akane Osaki, a passionate young woman inspired by her father Shinta Arakawa’s dream of becoming a master rakugoka. After witnessing his career collapse when he is expelled from the Arakawa school during a promotion test, Akane chooses to pursue rakugo herself. She does so not simply out of revenge but to understand the art her father loved and prove the worth of the rakugo he left behind.

Under the guidance of Shiguma Arakawa, her father’s former master, Akane begins training as a rakugoka and gradually learns that rakugo is far deeper than memorizing stories or performing funny voices. Each lesson teaches her a different part of the craft such as reading the audience, understanding character perspective, controlling rhythm and tempo, researching the background of a story, and using personal experience to give a performance life. As Akane grows, she faces rivals with different approaches to performance including modernized rakugo, theatrical expression, and classical mastery.

At its core, Akane-banashi is a story about tradition, artistic inheritance, and the struggle to find one’s own voice within an old and demanding art form. Akane’s journey is not only about becoming stronger as a performer but also about confronting the standards of the rakugo world, understanding her father’s choices, and carrying forward the style of her master while shaping it into something uniquely her own.

Now, onto the chapter summaries... here we go!​

Chapter 1
Akane recalls that she always loved watching her father’s rakugo stories from behind a sliding door. She would quietly peek into the room while he sat in his kimono, surrounded by books, tapes, and other materials, practicing his performances late into the night.

The scene then shifts to Asakusa, where Shinta Arakawa is performing at a small rakugo café. Inside the venue, only a small audience has gathered. Shinta performs a comedic routine about a man starting a job without having a toolbox, joking that lacking carpentry work does not mean he should eat the toolbox.

Shinta continues the routine from the stage, delivering the punchline with a calm, polite expression. Some members of the audience laugh, showing that the joke lands, though the venue itself remains sparsely attended.

After the performance, an older woman speaks to Shinta and tells him that he is being too stiff. She explains that he is placing too much pressure on everything, likely because of his upcoming Arakawa School Shinta promotion test and because his daughter is growing up quickly. Shinta takes the criticism politely, and the woman advises him to loosen up more before wishing him good luck.

Nearby, another man comments that Shinta does not impress him and does not seem like much. The older woman responds that Shinta was not performing at his best and says she has seen what he is truly capable of. She believes he is too talented to keep struggling in such a small venue.

Meanwhile, Shinta quietly considers the turnout. Only eight of the thirty seats were filled, and after subtracting the rental fee, he appears concerned about how little money the performance will leave him with.

Shinta receives a call from Mitsue Elementary School about Akane. At the school’s counseling room, Akane is being scolded by the parent of a crying boy, who angrily demands to know how Akane could speak to them that way. Akane tries to explain herself, but the adults continue accusing her of not feeling sorry for what she did.

Akane insists that they are not listening to her and decides that a demonstration might help. She explains that the incident began during fifth-period Japanese class, when the students were presenting essays about someone they respected.

During her presentation, Akane reads an essay about her father. She proudly says that she respects him because he is a rakugoka, a rakugo performer, who tells fun and lively stories. However, one of her classmates mocks her, saying that his mother called her father a deadbeat and asking why she would respect him. When Akane questions the insult, the boy explains that a deadbeat is a bad father who does not have a real job.

Akane admits that the situation happened exactly that way, but the teacher points out that she and another student are acting like innocent victims even though the boy was the one who started the fight. As Akane becomes angry and tells the boy to stop running his mouth, Shinta arrives and quickly covers her mouth to stop her from insulting him further.

Shinta apologizes to the adults for Akane’s behavior and bows respectfully. Akane protests, trying to say that the other children were at fault, but Shinta continues to stop her from speaking harshly. He tells her that he does not want her using that kind of language, regardless of the reason, and reminds her that she knows better.

The boy’s mother praises Shinta for being reasonable, unlike Akane. Shinta responds politely, saying that Mr. Yanagiya has explained the situation and that he understands both the mother and her son have a lot to say about him. He then calmly remarks that both he and the mother still have a long way to go in becoming parents who are not an embarrassment to their children. After that, he takes Akane by the hand and leaves with her.

After leaving the counseling room, Shinta appears embarrassed and worn out from the confrontation. He then takes Akane outside, where the two sit together on a park bench and eat ice cream. Shinta tells Akane to eat hers quickly before it melts, while Akane quietly apologizes to him.

Shinta tells her that it is all right, but advises her to be more careful about choosing her battles. Akane clarifies that she is not apologizing for the fight itself. She explains that she fought back because she wanted to tell everyone how great he was, but instead, she only ended up upsetting him. Shinta gently pats her head and calls her a dummy, telling her that she is far too young to be worrying about his feelings.

Later, Shinta explains the ranking system for rakugoka to Akane. He tells her that there are three ranks: zenza, the opening rank; futatsume, the second rank; and shin’uchi, the headliner rank. Akane remembers this and points out that Shinta is currently a futatsume.

Shinta says that a shin’uchi promotion test is coming up and that he needs to pass it in order to become a shin’uchi. He explains that if he succeeds, his earnings will increase, and people will no longer be able to say bad things about him. He reassures Akane that she does not need to worry and tells her to keep being proud of him like usual.

At home, Shinta prepares food while telling Akane to begin her homework. He says that he needs to practice, and Akane agrees. Once she leaves, Shinta becomes more serious and reminds himself that he has to become a shin’uchi. He thinks about how failing would mean he cannot change how others see him, and he focuses on the need to become a respectable father and stop being called a deadbeat. Determined, he prepares to begin practicing, deciding to start with a quick refresher first.

Shinta begins practicing in his study, starting a rakugo routine by calling out to a character named Yota. While he works through the performance, Akane’s mother returns home and notices that Akane is sitting outside the sliding door, quietly watching and listening to her father.

Akane explains that she can “see them.” From outside the room, she understands that Shinta is physically alone, but as he performs, the characters in his story seem to appear before her. Inside the performance, Akane imagines three distinct men: a mean-spirited one, a touchy one, and a carefree one.

As Shinta shifts between the different characters, his facial expression, voice, and way of speaking change instantly. To Akane, it feels as though three separate men are talking in the room, even though it is only her father performing by himself. She becomes amazed by how rakugo can make invisible people and scenes feel real, comparing it to magic.

Akane becomes fascinated by Shinta’s skill and wonders how he is able to do those things, and how she could learn to do them herself. Her mother notices her excitement and remarks that she is surrounded by rakugo fanatics, though she also admits she cannot blame them.

The story then moves to the Arakawa School Shin’uchi Promotion Test, which is scheduled for the following week. Akane attends the event with her mother and is surprised by the size of the audience, excitedly pointing out how many people have come. Her mother tells her to calm down, while another woman nearby says that it is natural for a child to be lively.

At the venue, Akane and her mother meet Shiguma Arakawa, Shinta’s master. Shiguma greets Akane’s mother, Masaki, and says it is good to finally see her again. Masaki thanks him for watching over her husband, but Shiguma humbly says he has done nothing. He then reflects on how quickly time has passed, saying it is hard to believe Shinta began training under him so long ago.

Akane asks Shiguma where her father is, but Shiguma tells her that Shinta is busy and that they should leave him alone. Meanwhile, Shinta waits by himself in Dressing Room 2, preparing for the Arakawa School Shin’uchi Promotion Test.

The test is explained as an event where each contestant performs before both the audience and the masters of the Arakawa School. Their performances are judged, the results are tallied, and only those whose talent is recognized are promoted to shin’uchi. The chief judge for the year is revealed to be Issho Arakawa, a senior fellow of Shiguma’s at the school.

Issho arrives at the venue and is introduced as one of the greatest rakugoka of his generation. Upon noticing that Shiguma is also present, Issho reacts with annoyance, saying that it puts him in a foul mood.

In the dressing room, Shinta tries to steady himself before the test. He reminds himself of how much time he has spent working toward this day and tells himself that he needs to trust in his own art as he always has. However, his confidence wavers as he begins imagining what could happen if he fails.

Shinta worries that people will call him a deadbeat again, that Akane’s classmates will continue ridiculing her because of him, and that Masaki will be placed under even more pressure to provide for their family. Most painfully, he fears that Akane herself might eventually give up on him.

Overwhelmed by these thoughts, Shinta sits alone and curses under his breath. He then snaps himself out of it, scolding himself for getting anxious before the test has even begun. He reminds himself that there is no other way forward and that he simply has to perform.

Onstage, the announcer begins the Arakawa School Shin’uchi Promotion Test. He explains that the masters of the Arakawa School and everyone in attendance will serve as judges, describing the event as a battle among fellow disciples to determine who will become a new shin’uchi. The contestants are then called out, and the first performer is introduced.

Shinta is called onto the stage as the first performer of the Arakawa School Shin’uchi Promotion Test. He bows to the audience as they applaud, while Akane excitedly cheers for him from her seat beside her mother. Shinta then begins by introducing himself as Shinta Arakawa.

Although he starts with a smile, Shinta immediately feels the heavy atmosphere of the event. Unlike a normal performance, the audience and judges are watching him critically, and their attention makes the mood feel cold and intense. He opens with a standard seasonal greeting, but the pressure of being evaluated weighs on him.

Shinta begins his makura, the introductory lead-in before the main rakugo story, by thanking the audience for attending the trial. He tries to joke that the situation almost makes him feel like a politician because the audience’s votes could change his life. However, the line receives only a weak reaction, and Shinta quickly realizes that his nerves are affecting his timing.

As Shinta continues, he stumbles through another joke about being a rakugoka whose only talent is speaking whatever comes to mind. Issho watches from the judges’ area with a bored, unimpressed expression, while another observer notes that Shinta is rushing and that this is not a good start.

Shinta becomes increasingly aware that the audience is not responding the way he hoped. He worries that he has taken on more than he can handle and begins to panic internally, feeling as though he is already failing before properly reaching his main performance.

Then, as Shinta sits onstage and tries to continue, he hears a familiar voice. Akane, from the audience, appears to be mimicking him. Her voice catches his attention and briefly pulls him out of his anxious spiral.

Shinta recognizes Akane’s voice from the audience and realizes that she has been copying his rakugo. He remembers knowing that she had watched him practice, but he is surprised that she has also been imitating him well enough for him to notice during the test.

He thinks back to an earlier conversation with Masaki. She had observed that Akane might be more suited to rakugo than Shinta expected, while Shinta worried that Akane giving up on him would be devastating. Masaki told him that if he was worried about that, he should hurry up and become a shin’uchi already.

Masaki then explained that Akane is a daddy’s girl who wants to be proud of him and brag about him. She tells Shinta that he can complain and show weakness around her, but in front of Akane, he needs to be the cool and capable father she believes in.

Remembering this, Shinta regains his composure onstage. His delivery changes, and he smoothly shifts from his shaky opening into a more natural rhythm. He begins speaking about the cold weather, hot sake, and how drinking too much can lead to trouble, using the topic to lead into his main story.

The audience and judges immediately notice the change in his demeanor. His speech becomes more confident and engaging, and Issho takes notice as Shinta’s performance begins to show a different level of skill.

Shinta then moves from the makura into the actual rakugo performance. He begins portraying a domestic scene, shifting between a wife trying to wake her husband and a reluctant man who does not want to go to the shore. Through his acting, the story becomes clearer, and one of the observers notes that Shinta has properly entered the main performance.

The story is revealed to be “Shibahama,” a tale about Katsugoro, a talented fisherman struggling with alcohol and debt. In the story, his wife sends him to the shore for work, only for him to later rush back home in a panic, urgently telling her to open the door.

Shinta hears Akane mimicking his voice from the audience and realizes that she has been copying his rakugo. He already knew that she watched him practice, but he is surprised that she is able to imitate him, since rakugo is not easy. Remembering that Akane had also shown this ability earlier that day, he thinks that, while he is not an expert judge of talent, she seems genuinely good at it.

Shinta recalls a conversation with Masaki, who told him that Akane might be more suited to rakugo than him. Shinta worried that if even Akane gave up on him, he would be lost, but Masaki told him that if he was that concerned, then he should become a shin’uchi already. She reminded him that Akane is a daddy’s girl who wants to brag about him, and that while he can be weak around Masaki, he needs to be Akane’s cool and capable father in front of her.

Back onstage, Shinta regains his focus by remembering that this performance is for Akane. His demeanor changes as he resumes his makura, speaking more naturally about the cold weather, how good hot sake tastes on a freezing day, and how drinking too much can quickly lead to trouble. The shift is immediate enough that the judges and audience notice, with Issho reacting to the sudden change in Shinta’s presence.

Shinta then moves into the main story, “Shibahama.” He begins portraying a wife trying to wake her husband, Katsugoro, and urging him to go to the shore for work. He switches between the wife’s concerned scolding and Katsugoro’s groggy confusion, showing that he has transitioned from the introductory talk into the actual rakugo performance.

The story explains that Katsugoro is a skilled fisherman who struggles with alcohol and debt. In the traditional tale, he finds a coin purse on the beach at Shiba, an event that helps him recover his drive for work. However, Shinta cuts past the scene where Katsugoro goes to the beach and finds the purse, instead jumping ahead to the moment where Katsugoro rushes back home in panic and asks his wife whether anyone has followed him.

The judges recognize that Shinta has made a deliberate creative choice. While rakugoka are allowed to add their own twists to classic stories as long as the main structure remains intact, some observers are troubled that he skipped the Shiba beach scene, which is considered one of the main attractions of “Shibahama.” One judge notes that Shinta has sacrificed a strong chance to show off scenic narration.

Rather than focusing on describing the beach, Shinta chooses to put all his energy into the characters. His strength lies in acting, and his expressions, hand movements, glances, and voice work bring the emotions of the characters to life. By dedicating himself fully to characterization, he begins pulling the audience into the story.

As Shinta performs the wife, Akane excitedly recognizes the character as being based on Masaki and says that her father is “playing Mom.” Onstage, Shinta thinks about Masaki and Akane watching him, and reflects on the thirteen years he has spent training under Shiguma. Despite all that time, he feels that his successes have been few and that he has barely managed to earn a living.

Shinta then thinks about how Masaki never once told him to quit rakugo, and how Akane continues to love him despite his shortcomings. Wanting to repay their love and support, he pours everything he has gained as both an artist and a person into the performance. With renewed conviction, he declares to himself that this is the day he will become a shin’uchi.

Shinta’s performance reaches a strong turning point, and the audience reacts loudly. The hall fills with laughter and excitement as his acting and delivery pull the spectators into the story. Akane watches in amazement, thrilled by how impressive her father looks onstage.

After Shinta finishes, he sits quietly before the microphone, still smiling from the performance. Akane excitedly thinks that her father is cool, while the event moves on to the final stage. Once the votes and judgments have been tallied, the announcer prepares to reveal the results.

Masaki grows anxious and insists that Shinta must have succeeded, asking Akane to tell her that he passed. Akane, embarrassed by her mother’s intensity, tells her to be quiet.

The announcer calls Master Issho Arakawa to the microphone to announce the results. Issho first thanks the audience for attending and remarks that it has been a long time since he has seen younger performers in action. However, instead of building suspense, he says he will get straight to the results.

Issho then declares that every performer who appeared that day is expelled from the Arakawa School. The announcement shocks the entire venue, as the audience and contestants struggle to understand what he has just said.

The announcer initially assumes Issho must be joking, but Issho continues without softening his statement. He apologizes to the audience for what he calls a travesty, saying the performances were so poor that it makes him wonder what the contestants had been doing for the last decade. He adds that there is no point asking them, because they were lost causes from the start.

After making his declaration, Issho abruptly ends the event and leaves the stage. The hall erupts into confused murmuring as people try to process what has happened. Akane, not fully understanding the meaning of “expelled,” turns to Masaki and asks her to explain, while Masaki sits in stunned silence and thinks of Tohru.

After the shocking announcement, the audience and members of the Arakawa School are left confused and outraged. People question what Issho meant by expelling every performer, while the decision quickly becomes official. Days later, Shinta, Ikki, Shoen, Ichinokura, and Ichien Arakawa are all formally expelled from the school.

Shiguma protests the decision, insisting that Shinta is his pupil and that Issho cannot simply expel him. Issho responds coldly, saying that he has done Shiguma a favor. The reason for the expulsions is never clearly explained, but Issho dismisses Shinta’s performance by saying that whatever it was, it was not Shibahama.

The impact of the decision devastates those involved. The other performers are left stunned, asking whether the expulsion is real and what it means. The narration states that on that day, the rakugoka Shinta Arakawa “died,” marking the end of his identity and career as a performer under that name.

However, the story does not end there. Time passes, and Akane is later shown standing outside a venue where Issho Arakawa is holding a solo performance. Now older, Akane looks determined as she snaps her folding fan shut.

Akane reflects that the day of her father’s expulsion was only the beginning of her own story. The chapter ends with her facing forward, signaling that her path is now tied to what happened to Shinta and to the world of rakugo.

Chapter 2
Guriko Arakawa, Shiguma Arakawa’s final pupil, anxiously follows his master through the streets. Guriko questions what he is doing, wondering why he, a rakugoka hoping to become explosively successful, is secretly tailing his own master.

The situation began the previous day, when another rakugoka named Riichi approached Guriko and asked whether a rumor about Shiguma was true. Riichi had heard that Shiguma was seeing a young girl. Guriko immediately denied it and laughed the rumor off, telling Riichi not to believe whoever had been feeding him that kind of gossip.

Despite dismissing the rumor out loud, Guriko becomes worried internally. He thinks about Shiguma’s position in the rakugo world and how damaging even a questionable rumor could be. Since the expulsion incident six years earlier, the Arakawa School’s influence has grown rapidly, pulling much of the rakugo world along with it. Shiguma, known as “Shiguma the Tear-Jerker” and considered the school’s number two, is a major figure, so a scandal involving a very young woman could seriously damage his reputation.

Determined to uncover the truth, Guriko continues following Shiguma. He watches as Shiguma enters a karaoke building and becomes suspicious because Shiguma did not check in first, making it seem as though someone may already be waiting for him. Guriko carefully follows without drawing attention and tracks Shiguma to one of the rooms.

When Guriko peeks inside, he sees Shiguma meeting with Akane, who is now older. Akane smiles and greets Shiguma from inside the karaoke room, confirming that she is the young girl connected to the rumor.

Guriko waits outside Room 301 and begins trying to process what he saw. Because Shiguma and Akane entered the room separately, and because Akane appears to be wearing a school uniform, Guriko jumps to the worst possible conclusion. He panics and convinces himself that the rumor about Shiguma is true.

While Guriko continues spying from the hallway, he hears Akane speaking from inside the room. She says that she is “afraid,” which makes Guriko even more suspicious at first. However, when he looks closer, he sees that Shiguma is sitting seriously and watching Akane rather than acting casually or secretly.

Guriko then realizes that the situation is not what he imagined. Shiguma is observing Akane with the same intense focus he would use when judging a rakugo performance. Akane is performing rakugo in the karaoke room, and Shiguma appears to be giving her a lesson.

As Akane continues, she acts out a character who claims to be afraid of spiders. Guriko listens from outside and gradually understands that she is fully committed to the performance. She shifts into another character, asking why a grown man would be afraid of spiders, while Guriko grows increasingly surprised by her skill.

Akane’s acting becomes more expressive as she portrays a bold, confident figure who says that humanity is at the top of the food chain and asks what there is to fear. Guriko is startled by how convincing she is and admits to himself that she is very good at rakugo.

While still watching from the hallway, Guriko becomes so absorbed and unsettled by the scene that he draws attention to himself. A staff member notices him crouching near the door and politely addresses him, causing Guriko to panic and try to explain himself.

Guriko is discovered spying outside Room 301 and accidentally tumbles into the karaoke room. Embarrassed, he tries to claim that he entered the wrong room, but Akane immediately calls him a clown, making it clear that his excuse is not convincing.

Shiguma scolds Guriko for believing the rumors and then following him to spy on him. He tells Guriko that he has made a fool of himself and should be ashamed. Guriko tries to defend himself by pointing out that the situation could easily look like a shady relationship, but Akane argues that this is better because Shiguma now knows rumors about them are spreading.

Guriko loses his temper at Akane for speaking so casually, but Shiguma tells both of them to stop. When Guriko asks who Akane is, Shiguma introduces her as Akane Osaki, the daughter of Shinta, the rakugoka who was expelled six years earlier. Akane then greets Guriko in a playful, exaggerated way.

After the commotion settles, Shiguma turns the conversation back to Akane’s rakugo and asks what she thought of her own performance. Akane says that Shiguma has been instructing her for six years, but he still has not given her permission to perform in front of an audience. She adds that she will be seventeen that year and asks whether he still wants her to continue.

Akane then states her goal clearly: she is going to become a shin’uchi of the Arakawa School. She wants to make everyone recognize how great her father’s craft was, especially Issho, and declares that she will prove it to everyone.

Akane formally asks Shiguma to accept her as a proper pupil. Shiguma reflects on how quickly time has passed and remembers when Akane first asked him to make her his pupil while she was still in elementary school. At the time, he told her that becoming a rakugoka required apprenticing under a shin’uchi, but Akane insisted that she had to become one and said she would do anything.

Shiguma then asked Akane why she wanted to pursue rakugo. Akane explained that after her father left rakugo, he joined a company that sells concrete. She said he did not want to spend his days depressed, so he found work, became busy, earned more money than he had as a rakugoka, and allowed the family to eat out more often.

Shiguma said he was glad to hear that things were going well for Shinta, but Akane revealed that this reaction was exactly what hurt her. Everyone kept saying that it was good for her father, good that he quit rakugo, and good that he had been expelled from the school. To Akane, those words felt like people were saying her father’s rakugo had been worthless.

Akane explains that she loved her father’s rakugo. Even though it was only him sitting and talking by himself, it made her see different people and places as though they were real. To her, it felt like magic. When her father quit rakugo, she was devastated because she believed she would never see that magic again.

Akane says that while everyone else smiled and praised her father for getting a “real job,” she was the only one who felt sad about it. Every time someone said it was “good for him,” it hurt her because her father’s rakugo was her favorite thing. Because of that, she decided to become a shin’uchi herself and prove that her father’s rakugo had been great.

Since then, Shiguma has been giving Akane private lessons for six years. He thinks about how the little girl who came to him crying has grown up. Although it is rare for someone to formally enter the rakugo world after graduating high school, it is not impossible. Shiguma admits that if there is any problem with Akane’s situation, the fault lies with him, because he still feels he does not have the right to take another pupil.

Shiguma pauses as his phone begins ringing and answers a call. The caller is Ms. Yoshino from the Rakugo Café, who explains that she suddenly needs someone to fill in for a later performance that day. Guriko immediately sees an opportunity and declares that he is available.

However, Shiguma says that he wants Akane to go instead. Guriko is shocked by the decision, arguing that the Rakugo Café may be small but is still a place where professional rakugoka perform every day and night. Shiguma corrects Guriko’s wording, reminding him that rakugoka are already professionals by definition.

Shiguma then explains that becoming the pupil of a shin’uchi means becoming a professional rakugoka. Because of that, he wants Akane to see what the professional world is really like. He tells her that if she still wants to become a rakugoka after experiencing it, he might consider accepting her as his pupil.

Akane accepts the challenge. Shiguma advises her not to become too nervous, saying that she is still an amateur and that failing onstage is normal. Guriko protests that bombing is not good, but Akane confidently says she understands.

Rather than being discouraged, Akane becomes excited. She declares that she will take the audience by surprise and get plenty of laughs, telling Shiguma and Guriko to wait and see what she can do.

 

[Daniel]

Chapter 3
At the Rakugo Café, Ms. Yoshino receives Shiguma’s message about finding a replacement performer. She confirms to the staff that the day’s scheduled performer will be twenty to thirty minutes late, but tells them not to worry because Master Shiguma has found someone to fill in. Since Shiguma is the number two figure at the prestigious Arakawa School, she assumes the replacement will be reliable and says payment will not be an issue.

Guriko arrives at the café, and Ms. Yoshino initially believes he is the performer Shiguma sent. She warmly greets him and says she is glad he came to perform, even thanking him for what happened the other day. Guriko quickly becomes uneasy and explains that he is not actually the replacement.

Akane then steps into view, making it clear that she is the person Shiguma sent. Ms. Yoshino is surprised by her appearance and age, thinking that Akane seems too young, too flashy, and unlike the usual image of a rakugo performer. Akane approaches her directly and asks if she is the proprietor of the establishment.

Akane introduces herself to Ms. Yoshino in an extremely formal and intense way, announcing that she has come on Shiguma’s behalf to serve as the replacement performer. Her exaggerated politeness surprises Guriko, but Ms. Yoshino finds her sweet and leads her toward the performers’ back room. Guriko notices that Akane acts completely different around Ms. Yoshino than she does with him, while Akane insists she is behaving normally before quietly wondering if she sounded strange.

In the back room, Akane tries to convince herself that she is not nervous. Although her heart is beating quickly and her body is shaking, she frames it as excitement and anticipation rather than fear. She tells herself that she knows what she is doing and that the performance will be easy, while Guriko watches her with concern.

Meanwhile, the audience notices Akane’s name on the sign and begins wondering who she is. Some people are confused because they thought the event would be a one-man show, while others mention that even in those cases, a zenza sometimes performs first. Ms. Yoshino asks Guriko about Akane, and Guriko grows increasingly uneasy because Akane is not actually Shiguma’s official pupil. Still, he decides that if things go badly, he will simply clean up after her.

As Akane waits backstage, Guriko asks whether she is all right and reminds her that once the music starts, she will be on. Akane startles, but he points out that the kimono Shiguma lent her fits well and assumes she is nervous. She denies it, so Guriko gives her a common stage-fright tip: write the kanji for “person” on her palm and swallow it to calm down. Akane immediately corrects him, saying the gesture symbolizes devouring the audience before they devour her, which shows that she already understands the performer’s mindset better than Guriko expected.

Guriko explains that rakugoka use their dominant hand to symbolize dominating the audience. Akane is surprised and asks whether even Shiguma does that before major performances, which confirms to Guriko that she is more nervous than she was admitting. He teases her for being rattled, but then tells her not to overthink it, reminding her that nobody is perfect from the start. His reassurance helps Akane calm down a little, and she thanks him.

Akane is then called to the stage. As she steps out in Shiguma’s kimono, the audience reacts with confusion, with some people wondering why a kid or a girl has appeared. Akane bows to the audience, receives applause, and steels herself before beginning her first performance in front of a real crowd.

Once she is seated onstage, Akane immediately feels the difference between practice and performing live. She sees how many people are watching her and realizes that the pressure feels much stronger from the performer’s side than she expected. Even though she knew there would be an audience, the atmosphere from the stage feels overwhelming.

Akane becomes sharply aware that she is alone onstage. No one can step in to help her, and whatever happens next will be entirely her responsibility. The audience waits in silence because she has not said a word yet, while Guriko watches anxiously and recognizes how frightening that moment must feel. Akane reminds herself that she chose to come here of her own free will, tells herself not to break down or run away, and focuses on simply executing her performance.

Akane steadies herself onstage by focusing on everything she has built up through practice. Remembering her father and Shiguma, she tells herself to draw out everything that exists inside her and present it in the moment. After taking a breath, she begins her performance.

She opens by speaking about the familiar idea of likes and dislikes, explaining that everyone’s tastes are personal and unique. Guriko, watching from the side, is relieved that she has finally started, but he quickly notices that her movements are sharp, her voice carries well, and she seems completely different from the nervous girl she was only moments earlier.

Akane then frames rakugo as more than simply giving a speech. Through her performance, she explains that rakugo is the art of depicting conversation, where a single performer must portray every character and the narration by using facial expressions, gestures, and vocal mannerisms. As she demonstrates this, she shows how a rakugoka has to make each speaker distinct even though only one person is onstage.

She continues by drawing the audience into an imagined scene involving fears and dislikes. Her description of a snake, including its tongue flicking, becomes vivid enough to engage the audience’s imagination, and the listeners begin responding to the situation as though they understand the characters’ reactions.

Akane shifts between different voices and attitudes as the conversation continues. She portrays characters who are afraid of spiders, frogs, slugs, and other things, while also playing a bolder character who insists that humans are at the top of the food chain and have nothing to fear. Guriko recognizes that her voice, glances, and finger movements all improve the clarity of the story, making it easy to tell who is speaking at each moment.

Akane’s performance continues to build momentum as she fully commits to the story. Her delivery becomes lively enough that the audience can picture the scene around her, with the different townsmen appearing through her acting as they argue about what they fear. Guriko watches and realizes that Akane has genuine talent for rakugo.

The story she performs is “Scared of Manju.” In it, a group of young men talk about their fears, but one man claims he is afraid of nothing. He eventually says that the one thing that can make him faint from fright is sweet manju buns, though this is actually a lie. The others decide to scare him by surrounding him with manju while he is asleep.

Akane portrays the setup with confidence, explaining how the men plan to “kill” him with manju and jokingly turn it into an “assassination” pun. Her timing and character work continue to impress the people watching, especially because she is not even a formal apprentice yet.

She then shifts into the frightened man’s role, screaming at the sight of the manju and acting as though the sweets are terrifying. The audience laughs, while Guriko is stunned by how much stage presence she has. He realizes that even with six years of Shiguma’s private instruction, most people would not reach this level so quickly, especially not during their first performance before an audience.

Akane drives the joke further by having the man claim that the most terrifying thing he has seen lately is the manju itself. Her expression and posture sell the character so strongly that Guriko can only admit to himself that she is genuinely impressive.

The punchline lands when the manju turns out not to be scary at all. Akane shows the man eating them happily, prompting the others to realize he had been lying about his fear. As the audience reacts, Ms. Yoshino is left stunned. She realizes Shiguma sent Akane without explaining who she was and then asked for her opinion, but after watching the performance, the only thing she can say is that Akane was incredible.

Chapter 4
This chapter opens outside the Rakugo Café, where the scheduled performer arrives late and frustrated. He explains that he had been looking forward to finally doing a solo performance there, but a traffic accident delayed his express bus for hours, leaving the audience waiting for more than twenty minutes. He sees the café and worries that the day is already off to a terrible start.

Inside the café, Akane finishes her performance to loud applause. The audience reacts enthusiastically, while Akane stands near the curtain in Shiguma’s kimono, sweating and stunned by the response. She seems overwhelmed by the experience, as if she is still trying to understand what just happened.

Backstage, Guriko congratulates Akane and gives her water. He asks how her first public performance felt, and Akane admits that it was surprisingly tiring, but describes the fatigue as welcome. Guriko points out that she had been speaking for more than twenty minutes straight. Akane is already eager to perform again and wonders whether Ms. Yoshino will let her tell another story, but Guriko tells her not to get ahead of herself.

The late performer then suddenly embraces Akane, startling both her and Guriko. He excitedly praises her performance as unbelievable and is shocked to realize that she is still in her teens, making her younger than him. He says he loved the chaotic feeling she created in the nagaya rowhouse scene and comments that her speaking style and tempo resemble Shiguma’s, though not exactly. Curious, he asks where she learned rakugo and where she usually performs.

Akane reacts badly to the late performer suddenly getting too close and hits him in the face. Guriko tells her not to do that because the man is the next performer, but the performer apologizes and explains that he gets carried away whenever he meets a good rakugoka. He praises Akane’s version of “Scared of Manju,” especially the small details she added, such as the different manju flavors, and says he owes her for keeping the stage warm while he was late.

Akane confidently says she will let him watch her own solo performance for free someday, but he instead tells her to watch his performance from the side as a lesson. Guriko agrees that it is worth seeing, explaining that although the man can be obnoxious, his rakugo has a special appeal. He notes that the performer became a futatsume at only nineteen after his second year of apprenticeship, making him a rising talent who has attracted attention.

The late performer takes the stage and apologizes to the audience for keeping them waiting. He also compliments Akane, calling her cute and talented, while some audience members wonder who taught her rakugo. Akane, watching from the side, assumes he is exaggerating, but the narration shifts into the idea that every creative craft requires sacrifice and dedication.

The performer then begins his own story, “The Lesson Master,” about a man with no looks or money who wants to attract women and therefore goes to take singing lessons. His specialty becomes clear: he has a gift for portraying seductive, feminine voices. Akane is surprised by how different he seems once he starts performing, and the audience is quickly drawn in by the way he sings.

The performer demonstrates the teacher’s beautiful singing, leaving Akane impressed even though she does not know the musical style. However, when he switches to the student’s turn, he deliberately sings terribly, causing the audience to shout for him to stop. Guriko observes that the performer’s strength lies in seduction, and Akane watches closely as she begins to understand the nature of his talent.

The late performer continues his routine by switching between the singing teacher and the terrible student. After singing badly as the student, he immediately shifts into the teacher’s role and shouts for the student to stop singing. Akane and Guriko watch from the side, with Guriko explaining that the performer’s talent lies in seduction: he can make his attractive, feminine roles convincing, which makes his ridiculous characters feel even funnier by contrast.

The performer is introduced as Kaisei Arakawa. His specialty is described as a combination of seductive female roles and a wide range of acting ability, which strengthens the sensual charm of his performances. At the same time, when he plays an eccentric or foolish character, the contrast makes the comedy land even harder, causing the audience to laugh. Akane begins wondering who he really is.

It is then revealed that Kaisei has a significant position within the current Arakawa School. Since the shin’uchi promotion test incident six years earlier, he is the only man Issho Arakawa has raised to the rank of futatsume, making him an important young performer connected directly to Issho’s side of the school.

After the performance ends, the audience members leave and are asked to place their survey sheets into a box. Akane looks at the feedback and realizes that even here, all the comments are focused on Kaisei. Although she had privately thought she did well, the written reactions praise Kaisei’s female roles, his reputation, and the enjoyment of his performance.

Kaisei suddenly appears behind Akane while she is reading the surveys, startling her. He casually notes that the audience wrote very nice things about him, then points out that Akane was reading the feedback closely. When he asks whether she is curious to know more about him, Akane denies it. Kaisei then asks if she is one of Shiguma’s apprentices, and Akane answers that she is not one yet.

Kaisei approaches Akane after the performance and asks whether she would like to join him as Master Issho Arakawa’s pupil. Akane immediately refuses, which surprises Kaisei because he says he was being fairly serious about the offer.

Kaisei explains that Akane’s first public performance received a huge reaction and that she already has youth and her own style. He says the rakugo world is usually controlled by seniority, but Issho wants to create a revolution by gathering fresh young talent. According to Kaisei, joining Issho would place Akane in an environment where she could be judged by the quality of her work rather than by how long she has been around.

Akane listens to him, but instead of accepting, she makes her own decision clear. She says she is going to officially become Master Shiguma’s pupil. Kaisei is caught off guard, but before Akane leaves, he tells her that as long as she has talent, Shiguma will recognize it.

Guriko quickly drags Akane away, insisting that they need to return to Shiguma’s place and reminding her that, even if they are both apprentices, he still has seniority over her. Before leaving, Akane addresses Kaisei properly and tells him that she may have lost to him that day, but she will catch up soon, warning him to be ready.

As Akane leaves, Ms. Yoshino appears with copies of the audience surveys Akane received, only to realize that Akane has already gone. Meanwhile, Akane contacts Shiguma and excitedly tells him that she wants to talk about officially becoming his pupil through her mobile phone.

Chapter 5
This chapter begins at Shiguma’s place, where Guriko brings tea to his master. However, Shiguma appears distracted and is practicing different ways of speaking to Masaki, shifting between overly cheerful, serious, and exaggerated tones as if rehearsing how to greet her. Guriko is confused by the performance and wonders who Shiguma is talking to.

As Shiguma continues, he grows increasingly flustered over Masaki’s arrival. When the doorbell rings, he panics and tells Guriko that she is here. Guriko prepares to answer the door, but Shiguma suddenly shouts that the guest should be served peeled peaches, making Guriko realize that his usually composed master is unusually nervous.

The story then flashes back to the previous day, after Akane’s performance at the Rakugo Café. Shiguma asks whether Akane’s desire to become his apprentice has grown stronger. Akane confirms that it has, explaining that she now understands how far below the shin’uchi level she still is and does not want to waste any time improving. She begs Shiguma to let her join his school.

Shiguma accepts Akane as his pupil, causing her to celebrate excitedly. However, he warns her not to be satisfied with this alone, because she has only reached the starting line. He then tells her that he has one condition before things can move forward.

Shiguma explains his condition for accepting Akane as a pupil: she must come with a parent. He says rakugo is an unstable profession, so any parent would naturally worry about their child entering that line of work, especially given Akane’s family history with the Arakawa School. Akane understands and suggests returning the next day with her mother. Shiguma agrees, though he privately becomes nervous because it will be his first time seeing Masaki since Shinta’s expulsion.

Shiguma remains troubled by the thought of facing Masaki. He remembers that he never told her about secretly teaching Akane rakugo, and feels guilty because Shinta was his senior pupil under Shiguma before being expelled by Issho during the infamous incident six years earlier. Guriko notices that Shiguma looks even more serious than usual and assumes the meeting will be awkward. Akane and Masaki then arrive, with Akane entering casually because the door was unlocked.

Akane cheerfully tells Shiguma that she has brought her mother, while Masaki reminds her to speak more respectfully in a formal situation. Shiguma and Masaki greet each other for the first time since the day of the expulsion, both acknowledging that it has been a long time. The atmosphere immediately becomes tense and uncomfortable.

As they sit together, Masaki thanks Shiguma for his hospitality, while Guriko tries to serve tea and awkwardly sliced peaches. Akane bluntly comments that the peach slices look strange, causing Guriko to silently tell her to read the room. Shiguma then turns serious and tells Masaki that there is something he needs to apologize for.

Shiguma admits that he has been giving Akane private rakugo lessons for the past six years. He explains that part of his reason was guilt over what happened to Shinta and a desire to atone by helping Akane pursue her dream. However, as he watched Akane’s rakugo develop, he also became personally invested and began wondering what kind of rakugoka she might become. Even so, he apologizes for keeping the lessons secret from Masaki and says he should have told her himself long ago. Feeling ashamed, Shiguma says he should not have the right to take Akane as a student.

Masaki reveals that she already knew Akane had been receiving rakugo lessons from Shiguma. Akane had told her from the beginning, so Masaki was not unaware of the situation. However, when Shiguma asks whether that means she approves of Akane pursuing rakugo, Masaki immediately says she does not, especially after everything that happened to Shinta.

Masaki explains that even though she disapproves, there is no stopping Akane once she has made up her mind. She compares Akane’s stubbornness to her own past, saying that she also went against her parents’ wishes when she decided to become a beautician. Because of that, she understands that Akane’s determination is something inherited from the family. She also says she knew Shiguma had been taking good care of Akane.

The most important reason Masaki allowed the lessons to continue is that Shinta himself trusted Shiguma. Shinta had told her that as long as Akane was under Master Shiguma’s care, they had nothing to worry about. Hearing this deeply affects Shiguma, who is still burdened by guilt because he could not protect Shinta from the expulsion incident. He tells Masaki that because he failed his former pupil, he does not believe he has the right to take another one.

Even so, Shiguma makes a formal promise. Bowing deeply, he swears in the name of Shiguma Arakawa that he will do everything in his power to make Akane into a worthy rakugoka. Akane also bows and declares that, despite her flaws, she promises to become a rakugoka who will make Shiguma’s legacy proud.

Masaki accepts their resolve and entrusts Akane to Shiguma. After receiving her family’s approval, Akane is told that she will become Shiguma’s pupil after graduating from school. Shiguma then begins explaining the rakugo ranking system again, telling her that ranks are based on both time and skill.

Shiguma explains that the first rank is zenza, the training period where a rakugoka builds the foundation of their craft through practice and daily chores. The next rank is futatsume, where accepted rakugoka refine their skills and are allowed to wear the traditional haori and hakama. The highest rank is shin’uchi, the pinnacle of the rakugo world, reserved for those who have mastered their craft and are able to take pupils of their own. Guriko jokingly compares the system to manga careers, with zenza as rookies, futatsume as serialized artists, and shin’uchi as hit artists.

Although Akane will not officially join until the following spring, Shiguma tells her there is no time to waste. He says he will introduce her to his four current pupils, who are all futatsume. Each of them is eccentric in their own way, and Shiguma warns Akane that they will be responsible for drilling the basics of rakugo into her. He also warns that the training will be rigorous and asks whether she can keep up. Akane confidently answers that she can.

 

[Daniel]

Chapter 6
The chapter begins with Shiguma introducing Akane to the four senior pupils who will be responsible for teaching her the basics of rakugo. These seniors are shown as very different personalities, and Akane is told that they will be the ones drilling the fundamentals into her from this point onward.

However, not all of the senior pupils are eager to take charge of her. Some immediately refuse or hesitate, and Akane realizes that Shiguma apparently had not properly asked them beforehand. Shiguma insists that he should not need to explain it, because when a new pupil enters his study, it is the senior pupils’ job to look after them.

The seniors then give their reasons for avoiding the responsibility. Koguma Arakawa worries that if he trains Akane poorly and she quits, it will be his fault, especially since it has been many years since Guriko joined as the last new pupil. Maikeru Arakawa refuses for a very different reason, confidently claiming that Akane would obviously fall in love with him and that such a relationship would be forbidden. Another senior jokingly pushes the issue toward Guriko, but before Guriko can fully respond, Kyoji Arakawa steps in and says that he will take the lead with Akane.

Kyoji asks Shiguma whether that arrangement is acceptable, and Shiguma agrees, placing Akane under Kyoji’s guidance for the time being. Guriko tries to object out of concern for his junior, but Kyoji reminds him that he has only just become a futatsume and should focus on improving his own craft. Kyoji then begins teaching Akane immediately, telling her that when rakugoka meet, the junior is expected to greet first.

Akane corrects herself and gives Kyoji a proper formal bow while introducing herself. Kyoji compliments her, explaining that a rakugo performance begins and ends with a formal bow, and that a proper bow helps make the audience feel comfortable. Akane is surprised that he praises her and gets the impression that he may actually be very kind. Kyoji then says that Akane will accompany him for the time being and asks about her school schedule, while Akane casually says she can skip whatever classes she wants.

Kyoji immediately scolds Akane after she casually suggests skipping class. He calls her foolish and reminds her that her parents worked hard to put her through high school, so “ditching” classes is out of the question. He tells her that, while she is still a student, learning should remain her top priority. Akane and Guriko quickly obey, and Guriko notes that Kyoji’s strict attitude has earned him the nickname “the Magistrate of the Shiguma School.”

Kyoji then asks for Akane’s phone so he can send her the location of the next day’s show. Akane already feels that working with him will be difficult, but Kyoji moves forward without hesitation. Although Akane has not officially joined the school yet, he says he will teach her what she needs to learn during zenza training.

The next day, Akane accompanies Kyoji to a studio event featuring Kyoji himself and Hakushu Kashiwaya. Since backstage rooms are normally only open to rakugoka, Kyoji tells Akane to use the opportunity to learn. Akane becomes excited, thinking that she will master everything she sees and begin her path toward becoming a shin’uchi and catching up to Kaisei.

However, Akane’s “training” starts with backstage chores rather than performance practice. Kyoji orders her to line up the shoes neatly, greet the owners of the space, prepare tea when he comes backstage, help with the robes, and fold the street clothes neatly. Akane becomes annoyed when she realizes that he is making her do chores, but Kyoji bluntly confirms that this is exactly what he is doing.

Kyoji explains that new members of the school are expected to handle various chores and support tasks like the ones Akane has just done. Akane questions what any of this has to do with rakugo, but Kyoji tells her that rakugo is a business built around pleasing the audience and the people who come to see a performance. He says that if she cannot please even a single person in front of her, she is not suited for the craft.

Kyoji teaches Akane the idea of kibataraki, which he defines as the mindset of taking tactful action. He tells her to think about what another person might need and act before being asked. Akane begins to understand that these backstage tasks are not meaningless errands, but part of the attentiveness and consideration needed to make people happy through rakugo.

Hakushu Kashiwaya arrives backstage, and Kyoji immediately orders Akane to greet him properly. Akane remembers being told that rakugo is ultimately about skill, so she becomes excited when Hakushu asks whether she can perform a story that day. Since Hakushu is from another school, Kyoji explains that it is common for performers from different schools to hold shows together, and Akane takes the situation as a chance to prove herself.

Akane asks Kyoji to let her take the stage. Although Kyoji hesitates because Akane has not officially joined the Shiguma School yet, he decides to allow it because Shiguma has approved her training. Akane bows before the audience and prepares to perform, telling herself that she is less nervous than before and that she can see the room more clearly this time.

As Akane begins, she focuses on proving that rakugo is “all about skill.” Her makura introduces the idea of shallow affection and leads into a story called “Praising Children.” Kyoji watches carefully and thinks that simply copying others can only take a performer so far. He acknowledges that Akane’s acting and expressiveness are strong, but he also notices something deeper in her performance.

Kyoji realizes that Akane’s posture is excellent. Her body is steady, her core is firm, and she sits as though rooted to the stage, all of which keeps the audience from being distracted. He recognizes that this is not something someone gains in a single day and concludes that Akane has clearly put serious effort into her craft.

Akane then enters the story, portraying a loud character demanding a drink from a “cheapskate.” However, the audience only gives a few chuckles. Akane is surprised because the reaction is much weaker than the one she received during her previous performance, but she tries to steady herself and tells herself to use everything she has learned.

Akane continues her performance of “Praising Children,” but the audience’s reaction remains weaker than she expected. She tries to push forward, thinking that if she uses everything she has learned, the audience will love it. However, Kyoji watches calmly and understands what Shiguma meant when he said Akane has been given performance training but little else. Akane’s technique is not poor, but she is not getting the response she wants.

After the show, Kyoji notices that Akane seems down and asks if she was unhappy with her performance. Akane insists that she was grateful, especially because Hakushu allowed her to perform and because the audience still gave her compliments. However, she admits that beyond all of that, she was frustrated that she did not get the big waves of laughter she wanted. She thinks of Kaisei and recognizes that he probably would not have struggled in the same way, leading her to conclude that she still needs to practice harder and improve.

Kyoji challenges that conclusion, saying that believing harder practice alone will satisfy the audience is pure arrogance. Akane is shocked, but Kyoji explains that her rakugo is selfish. He acknowledges that she has skill, but asks whether she changed her performance at all to better suit the audience. Since much of the audience was elderly, he implies that Akane should have considered their tastes, pacing, and expectations instead of simply performing the way she wanted.

Kyoji compares her performance to throwing a fastball outside the strike zone. Even if the speed and force are impressive, the audience will not find it funny if it does not land where it needs to. He tells Akane that rakugo is a business about pleasing the audience, so she should not be looking inward at herself. Instead, she should be looking outward and thinking about how to perform rakugo that makes the audience happy.

To force Akane to learn that lesson, Kyoji sends her to a new location the next day. Akane confidently accepts the assignment, but when she arrives, she realizes that the place is a pub rather than a rakugo venue. She wonders whether Kyoji is simply trying to get rid of her by sending her there.

At the pub, Akane is put to work instead of being asked to perform. One of the staff members tells her not to just stand around, and Akane becomes increasingly gloomy as she realizes she is being treated like a new employee. However, she begins to remember Kyoji’s earlier lesson about kibataraki, the ability to notice what people need and act accordingly. She observes the owners, the customers, and the way people in the space interact, realizing that someone who tells you what you need to know can be anyone in front of you.

Akane then reframes the assignment as part of her rakugo training. Since rakugo depends on learning how to delight an audience, she decides that the experience she gains in the pub will be meaningful. Treating it as her first real job, she resolves to do it properly and find the answer to how she can perform rakugo that truly satisfies the people watching her. The chapter then ends with Akane determined to learn from the work in front of her rather than dismiss it as unrelated to rakugo.

Chapter 7
Kyoji travels with Shiguma and explains that he sent Akane to work at Izakaya Umi because he has several travel jobs that week and cannot bring her along. He says she will only be working shifts there for one week, and apologizes for leaving her behind so soon after volunteering to take responsibility for her training. Shiguma tells him not to worry, but notes that Kyoji sent her to “Miku-chan’s place,” suggesting the choice of workplace may make things interesting.

At Izakaya Umi, Akane enthusiastically greets a customer, but immediately fumbles by asking whether he has a reservation when he had already made one the previous day. She recalls Kyoji’s instruction: if she wants to perform rakugo that makes the audience happy, she must learn kibataraki by thinking ahead about what the person in front of her wants and acting before being told.

Akane takes Kyoji’s lesson seriously and decides that working at the izakaya will help her improve her rakugo. To prepare, she does an online search about proper customer service and becomes determined to “master kibataraki.” However, her eagerness causes her to overdo it. While serving customers, she aggressively promotes a mackerel dish, and the customers notice she is trying too hard.

The owner, Mamoru Mikuriya, calls Akane over and gently tells her that she may be coming on too strong. He suggests she lower her volume a little. Akane is confused because she thought serving customers at an izakaya meant being cheerful and lively, but Mamoru explains that while that is important, there is more to it than simply being loud and energetic.

Mamoru tells Akane that she should take time to study customers before throwing all of her effort at them. Akane understands that this matches what Kyoji told her, but she struggles with the idea because she thinks giving maximum effort should be the right approach. While she talks with her coworker Hiiragi, she is told that trying hard is not bad, but that effort alone may not be what matters most. The important question is whether the customer feels satisfied enough to want to return in the future.

Akane tries to follow Mamoru’s advice, comparing it to “when in Rome,” but the shift continues to wear her down. She realizes that the customer service techniques she researched have not worked, and instead of helping, she has only become a burden to Hiiragi. Exhausted, she begins to question what she is doing wrong.

Akane then recognizes that simply copying things she has learned is repeating the same mistake. If she only imitates techniques without thinking about the person in front of her, then she is not actually practicing kibataraki. She remembers Kyoji calling that kind of self-focused performance selfish and becomes frustrated with herself for failing to learn from his warning.

During Akane’s break, Mamoru checks on her and asks whether she is getting used to the job. When Akane struggles to answer, Mamoru reassures her that it is only her first day and says Kyoji is asking a lot of her. Akane is surprised to learn that Mamoru knows Kyoji, and Mamoru explains that Kyoji is a regular customer at the izakaya, though he does not drink and only orders orange juice.

Akane continues thinking about how to practice kibataraki and become considerate of others. She tells herself that if she cannot manage this, she will not even be able to become a zenza, so failure is not an option. When Mamoru reacts to her focus on consideration, Akane explains that the idea is something she learned from a rakugoka. Mamoru says he has also learned something from rakugo, not as a personal lesson, but because he has always liked rakugo and has attended many performances.

Mamoru explains that his approach to customer service was influenced by watching Shiguma’s rakugo. He says Shiguma always seemed to know exactly when the audience wanted to laugh or cry, delivering each emotion with precise timing. Inspired by that, Mamoru began experimenting with the timing of when to serve food and with different ways of interacting with customers. Akane is impressed, but Mamoru says it is not especially complicated, since everyone wants to feel like they are being treated well.

Mamoru connects this idea back to rakugo, telling Akane that if she wants people to enjoy her stories, she first needs to understand what they enjoy. He advises her to focus on the other person instead of putting herself first, and encourages her to try different things rather than overthinking failure. Akane recognizes the idea, thinking that turning failure into something funny is one of rakugo’s strengths. When Mamoru apologizes for lecturing a rakugoka about rakugo, Akane says she understands and appreciates the point.

Hiiragi then calls for Mamoru because a customer is asking something in a language the staff does not understand. Akane realizes she is completely monolingual, but she still decides to try helping. She approaches the customer with an awkward greeting, even though she does not know how to speak with him directly.

Remembering Mamoru and Kyoji’s lessons, Akane tries to think about what the customer wants instead of panicking. She studies his behavior and the menu, considering that he may be unable to read Japanese and that the menu does not have pictures of the food. Unsure how to explain the items verbally, she chooses something on the menu and tells the customer to watch her.

Akane uses exaggerated gestures to act out opening and drinking a bottle of beer. The customer understands her performance and identifies it as beer, giving Akane a breakthrough in communicating with him despite the language barrier.

Akane continues helping the foreign customer by relying on rakugo-style gestures instead of words. After realizing he understands her performance, she acts out more menu items, including yakitori, and the customer responds happily. Mamoru watches and decides that Akane can handle the situation, while the staff recognize that her rakugo skills are helping her communicate through performance. Akane successfully serves the customer and presents the food to him.

The customer thanks Akane in broken Japanese, leaving her surprised but pleased. Akane feels a strong sense of satisfaction from being able to help him naturally. Mamoru and Hiiragi praise her work, with Hiiragi amazed that rakugo could be useful in customer service. Mamoru encourages Akane to keep working in that direction, suggesting that this is the kind of attentiveness she should continue developing.

After Akane has worked at the izakaya for a full week, Kyoji returns from his travel jobs. Mamoru greets him warmly and thanks him for bringing Akane there, saying she was a huge help. Kyoji thanks Mamoru for looking after her and takes his usual seat, saying that now that he is back, he will have his usual order.

Akane brings Kyoji a glass of orange juice, already knowing his usual order. Kyoji praises her for being considerate, and Akane explains that Mamoru taught her well. When Kyoji asks whether she found the answer she was looking for, Akane says it may be faster to show him instead of explaining it. Kyoji accepts her answer and prepares to test what she has learned.

Kyoji tells Akane that he has a performance in Tokyo the following weekend and that she will come with him. He says she can show him what she learned there. Akane accepts immediately and answers with confidence.

Chapter 8
Kyoji brings Akane to the performance job he mentioned earlier, and Akane realizes the venue is not a theater but a retirement home. When they arrive, Kyoji confirms that he told her about this already, while Akane says she is only making sure. They are greeted by Tainaka, the manager for the day’s performance, who assumes they are the rakugoka performers. Kyoji introduces himself as Kyoji Arakawa, and Akane introduces herself as Akane before Tainaka leads them toward the green room.

Inside the retirement home, Akane observes the residents seated around the common area. She asks whether the audience for the show is made up of the people who live there, and Kyoji confirms that the home hired him to perform as a recreational event for the residents. Akane takes in the unfamiliar setting while Kyoji tells her to get used to it.

Kyoji explains that not every rakugo job happens in a large, formal hall. He says one of rakugo’s strengths is that it can be performed almost anywhere, as long as there is a zabuton cushion to sit on. Depending on the client, a rakugoka might perform at an elementary school, a prison, or many other kinds of venues. Kyoji expects Akane might be nervous about performing somewhere unfamiliar, but Akane says she actually feels lucky.

Akane explains that she finds it interesting to see the audience’s daily life directly in front of her. Normally, she says, performers only see the audience when they come to a hall, but this setting makes it clearer that they are ordinary people with their own schedules who have taken time out of their day to watch. She says that although she had been enthusiastic about giving the performance everything she had at first, now she simply hopes the residents enjoy the show.

Kyoji acknowledges Akane’s attitude as a good one, but warns her not to get carried away. Tainaka then returns and says they received permission from the manager for Akane to perform an opening act. She is given fifteen minutes and is told she can do anything she wants during that time.

Kyoji reminds Akane that his challenge was for her to learn how to perform rakugo that delights and entertains her audience. As Akane prepares in the room, Kyoji says he wants to see what answer she has reached. Akane answers confidently that she has learned many things.

The retirement home’s announcer tells the residents that the May Rakugo Festival event is ready to begin. Akane sits on the zabuton and treats the performance as a chance to repay what she has learned, deciding that she will rise to Kyoji’s challenge “with style.”

Akane looks over the audience and notices that there are fewer than twenty people watching. Everyone in the audience is elderly, which makes sense to her because the performance is being held at a retirement home.

With only fifteen minutes to perform, Akane thinks about how much entertainment she can give them. She remembers Mamoru’s advice that if she wants people to enjoy her story, she first needs to understand what they enjoy, and that she should focus on the other person rather than herself.

Akane decides that before performing, she needs the audience to know her better. She begins by introducing herself, saying her name is Akane, that she is seventeen years old, and that she is in her final year of high school. She tells them she will graduate next spring and plans to become an official apprentice of Shiguma Arakawa. One elderly woman remarks that Akane is the same age as her granddaughter, and Akane responds by asking her age; the woman says she is eighty-eight.

Akane responds to the eighty-eight-year-old woman by acting surprised and flattering her, saying she looks so young that she “doesn’t look a day over eighty-seven.” The joke makes the residents laugh, and Akane follows by telling them to think of her performance as if their own granddaughter had come to entertain them. Watching from the side, Kyoji notices that Akane is not rushing into the story immediately; she is first “feeling them out.”

The narration explains that before a rakugoka begins the main story, they often warm up the audience with light chitchat called the makura. This opening lets the performer test the waters, relax the listeners, and get a sense of the audience’s mood. As Akane speaks with the residents, she begins to understand the atmosphere of the retirement home. She also notices one person who seems bored compared with the rest of the audience.

After judging the audience’s mood, Akane decides what to perform. She announces that she will tell “Praising Children,” the same story she previously performed during her training with Kyoji. This time, however, her choice is not simply based on what she wants to perform. She appears to be choosing the story after reading the residents and considering what might reach them.

Akane then makes deliberate eye contact with the audience, especially the older man who had seemed disengaged. Her expression and timing catch his attention, and he reacts strongly to being directly acknowledged. This shows that Akane is not only speaking to the whole room in a general way; she is trying to make individual audience members feel personally included.

Akane recalls a customer-service technique she learned while working at Izakaya Umi. The lesson is that if someone looks into another person’s eyes and smiles just as they turn away, it leaves a good impression. The idea is reinforced by the saying that eyes can communicate as clearly as words. Akane applies this to rakugo by using eye contact and expression to make a listener feel noticed and special, even without directly calling them out. Kyoji observes her from the side and thinks that he barely recognizes her, showing that her approach has changed significantly since her earlier performance.

The chapter frames Akane’s discovery as a key part of rakugo: the performer must converse with the audience. Even if there is no literal exchange of words, the rakugoka can still gather information from the audience’s attention, expressions, and general attitude. By absorbing those reactions and responding to them, the performer can pull the audience into the story. Akane’s focus is now on keeping her mind on the people in front of her rather than simply showing off her own skill.

Kyoji recognizes that Akane learned well during her time at Umi. With the audience now engaged, Akane feels ready to begin the real story. She starts “Praising Children” by introducing the setup about a way to drink sake for free, then shifts into character and calls out, “Over here, old fellow! Come with me.” The residents smile as she begins, and Akane treats this as the point where her performance truly starts.

Chapter 9
The chapter starts with Akane moving past the makura and into the main story of “Praising Children.” She tells herself that the warm-up is over and that the real performance begins now, resolving to give the retirement-home audience a good show. She starts the story by shifting into character and having one man approach another after hearing that he serves free sake.

Akane continues the setup, with the first character asking about “sake for free.” The other man explains that he has relatives who send him sake from where they live, but because of local custom, they only drink in groups of three. This turns the phrase into “sake for three,” creating a wordplay-based misunderstanding. The elderly audience laughs, and Kyoji notices that even though Akane is performing the same story as before, it sounds different now.

The story’s premise is then explained more clearly. In “Praising Children,” Hachigoro visits an elderly man hoping to get free sake. When the elderly man refuses to simply give him a drink, he tells Hachigoro that if he wants someone to treat him, he should at least try paying them a compliment first. The old man teaches Hachigoro how to flatter people, explaining that when an adult tells someone they look younger, the other person feels good, and that when the person is a child, the compliment should go the other way. However, Hachigoro is a poor listener, so he misunderstands the lesson and tries to praise grown-ups and children incorrectly. The narration also explains that “Praising Children” is a zenza-banashi, a short and light story generally performed by zenza-rank rakugoka.

As Akane performs, she slows down and adjusts the delivery for the elderly residents. When the character tries to compliment someone, Akane changes the wording so that instead of using a sharper or more energetic tempo, she carefully lands the joke in a way that fits the audience. The residents laugh, and Kyoji observes that her slower, more careful pacing seems right for them. He recognizes that changing one’s style to suit the listeners is something a rakugoka must know how to do, and he silently praises Akane for learning well from her previous experience.

Akane continues the explanation within the story: if someone says a forty-five-year-old man looks forty-two, they are saying he appears three years younger. The character then realizes the problem is that not every man he meets will be exactly forty-five years old, meaning he has to adapt the compliment depending on the person. Kyoji watches Akane’s performance and feels reassured that she will do a good job that day.

Akane continues “Praising Children” with the old man teaching Hachigoro how to flatter people by guessing slightly below their real age. If the person is around fifty, he should say they look about forty-five or forty-six. When Hachigoro asks what to say if the person is sixty or seventy, the old man keeps reducing the number by a few years, telling him to say they look in their mid-fifties or mid-sixties. The elderly residents respond warmly to the exchange, and Akane keeps the rhythm light enough for them to follow.

Hachigoro continues pressing the old man with more examples, asking what he should say if someone is eighty and then ninety. The old man becomes irritated by Hachigoro’s inability to understand the pattern and snaps at him. Hachigoro misunderstands even that, deciding that if he meets a ninety-year-old, the correct compliment must be to repeat the old man’s angry dismissal. The residents laugh at the misunderstanding, and Akane’s delivery keeps building the joke through repetition.

The old man tells Hachigoro that he only needs to follow the proper order, but Hachigoro admits that he does not understand what that order is. The story then shifts toward the next lesson: how to compliment a child. Hachigoro mentions a neighbor named Take who has recently had a baby, and asks the old man to teach him what to say. Kyoji, watching from the side, notices that Akane’s storytelling tempo is beginning to rise.

Kyoji compares Akane’s pacing to a car shifting gears. She began slowly and calmly to match the elderly audience, but little by little, she has increased the speed of her performance. Because the acceleration is gradual and natural, the audience does not notice that the tempo has changed. Instead, they are carried along by the rhythm of the story. Kyoji realizes that Akane has adjusted the audience to the pace she wanted to use from the beginning.

Akane feels that the performance is going well and thinks she can now perform in her own way. Kyoji recognizes the value of starting from the audience’s comfort zone, but the chapter also connects this lesson back to Akane’s time at Umi. There, she learned from Mamoru’s attitude toward customer service: satisfying customers is the main goal, but once that foundation is met, the server can still present something they personally take pride in.

The flashback reinforces that Mamoru’s dedication to pleasing customers does not mean abandoning personal standards. He believes that as long as the customer is delighted, he can focus on serving food he is proud of. Akane applies that same idea to rakugo. She first meets the audience where they are, then gradually guides them toward the style of performance she wants to give. Watching this, Kyoji is struck by how remarkable her progress is.

Kyoji watches Akane’s performance and compares her current rakugo to her earlier attempt. Before, he saw her like a powerful pitcher throwing fastballs outside the strike zone: impressive, but not something the audience could comfortably enjoy. He had expected her to slow down or adjust her style so that her rakugo would fit inside the audience’s strike zone. Instead, Akane keeps her own speed and energy while still making the performance enjoyable for the elderly residents.

Kyoji realizes that Akane has not simply forced herself into the audience’s preferred range. Rather, through kibataraki, she has widened the audience’s strike zone so they can enjoy the kind of rakugo she wants to perform. Seeing this, he understands that her work at the izakaya helped her learn how to guide people toward enjoyment instead of only adapting passively to them.

Kyoji then recalls Shiguma’s words about Akane. Shiguma had said that Akane would be fine, even if she seemed to be struggling, because she is good at keeping others in mind and is willing to learn. He had also suggested that she might only be panicking because of the influence of the other pupils around her lately. Remembering this, Kyoji admits that Shiguma was right about her.

As Akane continues, her attention stays fixed on the audience. She can tell that the residents are laughing and enjoying themselves, unlike during her earlier performance of the same story. Akane feels how good it is to have her rakugo truly land with the listeners, especially with “Praising Children,” the story she is currently performing.

Akane reflects on why “Praising Children” feels so relevant to her. The story is about a man who fails because he assumes he understands what he is doing, but does not actually listen. Akane recognizes that she has been making similar mistakes lately, so the story hits close to home. This reminds her of something Shiguma told her years earlier, and the chapter shifts into a flashback of Shiguma telling young Akane to listen closely.

In the flashback, Shiguma explains to young Akane that rakugo was developed by the townsfolk of its time, which is why its characters are ordinary people such as carpenters, fishmongers, landlords, and others from everyday life. Akane is unsure how people from so long ago could be like people in the present, but Shiguma tells her that while lifestyles and ways of thinking change, the human heart remains constant across history. He says that if she keeps living and experiencing things, she will eventually understand how the people in those stories felt.

Shiguma then tells Akane to go out into the world, experience things, live, struggle, and even get hurt. He promises that those experiences will one day help her grow. At the time, Akane did not understand what he meant, but in the present, while performing “Praising Children,” she realizes that she understands it now.

Akane reflects that none of her experiences were wasted. Her time working at Izakaya Umi, her mistakes, her lessons in customer service, her conversations with Mamoru, and even her recent struggles have all brought her to this moment. She realizes that every bit of it can be applied to rakugo, and the realization overwhelms her with excitement.

As she reaches this understanding, Akane feels a renewed joy in performing. While still seated before the retirement-home audience, she thinks that rakugo is incredibly fun. Her expression shows how deeply the performance and the lesson have connected for her, turning the challenge Kyoji gave her into a genuine breakthrough.

After Akane finishes, the room responds with applause and excitement. Kyoji tells her that she really threw him for a loop and admits that he hardly recognized her during the performance. He says that if she keeps improving at this pace, she has nothing to worry about. Akane is startled by the praise, but it clearly confirms that she passed the challenge he set for her.

Akane bows deeply and thanks Kyoji. When he asks what she is thanking him for, she says it is for everything. She explains that she now realizes she had been trapped in very narrow ways of thinking, but thanks to him, she feels she is learning to love rakugo even more than before.

Kyoji is quiet for a moment, then tells Akane that he is not sure what any of that means, but if he helped her, he is glad. He acknowledges that she has shown him her answer clearly. With Akane’s performance finished, Kyoji steps forward and declares that it is now his turn to show off. He tells her that he will demonstrate the power of his seniority, leading into his own performance.

 

[Daniel]

Chapter 10
This chapter begins immediately after Kyoji acknowledges Akane’s answer and steps up to perform. He thinks about what he should show her with his own rakugo, deciding that this performance will be how he demonstrates the power of seniority. Akane realizes that although she has practiced alongside Kyoji before, she never actually got to watch him perform because the green room was upstairs during the earlier two-person performance. This will be her first time properly seeing Kyoji’s rakugo from the audience's side.

Kyoji introduces himself to the retirement-home audience as Kyoji Arakawa. Akane immediately notices the strength of his stage presence, especially his perfect posture. The residents also respond to his appearance and bearing, commenting on how impressive he looks even before the main story begins. Kyoji then says that his story will feature Edokko, people born and raised in Edo.

Kyoji begins with background on the spirit of the Edokko, citing the saying that no true Edokko saves his money. He explains that they were not fixated on becoming rich and that their outlook was to spend what they earned in a day before sunset, trusting that things would work out again tomorrow. He presents this as a naïvely optimistic way of living, but also as part of how people were at the time.

Kyoji then introduces the story he is performing, “Three Men Lose One Ryo.” In the story, Kintaro finds a wallet in the street containing three whole ryo. Thanks to the official document and seal inside, he tracks down the owner, Kichigoro. However, because true Edokko refuses to hold money overnight, Kichigoro does not want the wallet back, and Kintaro does not want to keep it either. The conflict begins with neither of the two stubborn men willing to accept the money.

Kyoji continues “Three Men Lose One Ryo” by showing Kintaro tracking down Kichigoro, the wallet’s owner. As he performs, he makes the scene vivid through small details, such as Kintaro noticing the smell of salt-grilled sardines and guessing that he has found Kichigoro’s home. Akane watches closely and is struck by how precise Kyoji’s delivery is. To her, every word and gesture feels carefully executed, making his rakugo feel thorough and disciplined.

Kyoji then shifts into a loud, blunt exchange between the two Edokko men. Kintaro calls out Kichigoro, saying that if he were a real Edokko, he would be eating something with much less flavor than salt-grilled sardines. The residents laugh at the sudden harshness of the line. Akane begins to understand Kyoji better and realizes that his style is not simply about being serious or strict. Within the story, Kichigoro confirms his identity, but instead of thanking Kintaro for returning the wallet, he asks why Kintaro bothered bringing it back at all.

Kichigoro insists that because he lost the wallet, it is no longer his. Even though Kintaro points out that Kichigoro’s name is written on the document inside, Kichigoro refuses to accept the money, saying the coins “ran away from home” and that he will not let them cross his doorstep again. Kintaro tries to solve the problem by saying Kichigoro can keep the whole wallet as thanks for returning the document and seal to him, but this only shocks Kichigoro and escalates their argument.

Kichigoro angrily refuses, shouting that he did not bring the wallet back because he wanted a reward. Akane realizes that the humor comes from the contradiction in Kyoji’s performance: the back-and-forth of the story is already funny, but Kyoji performs both men with such serious intensity that it becomes even funnier. His stern delivery makes the absurd stubbornness of the characters stand out.

The chapter then shifts to a flashback of Kyoji receiving advice from Shiguma. Shiguma tells him not to try to make people laugh, bluntly saying that Kyoji is not clever enough to get laughs through witty repartee. Kyoji worries that if he only plays things seriously, he will not get laughs at all. Shiguma agrees that simply being serious can become dull, but tells him that seriousness taken to the point of exaggeration can become funny. He advises Kyoji to be direct about his stubbornness and make that quality his trademark.

Kyoji’s performance moves from the argument between Kichigoro and Kintaro into the next stage of “Three Men Lose One Ryo.” The narration first returns to Shiguma’s advice to Kyoji, emphasizing that Kyoji’s directness and stubborn seriousness can become his weapon as a performer. In the story itself, Kichigoro and Kintaro argue so fiercely over who should take the three ryo that the dispute has to be brought before Ooka Echizen, the honorable magistrate of South Edo. Ooka begins by confirming the situation with Kichigoro: Kintaro came to return the lost purse, but Kichigoro became angry and struck him.

Kichigoro admits this is correct and explains his reasoning with Edokko pride. Since he lost the money, he believes he has no right to ask for it back, and he told Kintaro to take it instead. Ooka then turns to Kintaro and asks why he refused the offer. Kintaro insists that he returned the wallet to uphold the virtue of giving lost items back to their owners, not because he wanted to profit from it. His pride mirrors Kichigoro’s, making both men equally stubborn in refusing the money.

The chapter then reflects on the relationship between a rakugo master and pupil. Taking on a pupil does not bring the master material gain; if anything, the master spends time teaching etiquette, giving rakugo lessons, and watching over the pupil like a parent. The relationship is presented as something that goes beyond profit or loss, built instead on guidance, care, and what the pupil receives from the master over time.

Back in the story, Ooka says he has heard both arguments and will now deliver his verdict. He declares that the three ryo at the center of the dispute will go into his care. Then, instead of simply giving the money to one man or the other, he decides to reward both Kichigoro and Kintaro. This connects with Kyoji’s own thoughts as Akane’s senior pupil: just as his master gave to him, he wants to spare nothing in what he gives to Akane.

Ooka adds one ryo of his own to the disputed three, making four ryo in total, and gives two ryo each to Kichigoro and Kintaro as a reward for their generosity. This leads into the punchline: because the original three ryo were supplemented by one of Ooka’s, all three men have effectively lost one ryo each. Kyoji’s performance frames this not only as the conclusion of the story, but also as an expression of his own role as a rakugoka and senior disciple, someone who gives power to words and pushes Akane to want to catch up to him.

Kyoji finishes the story with complete confidence, pointing outward as the large title lettering for “Three Men Lose One Ryo” fills the page behind him. The narration presents this as the epitome of a senior pupil, showing Kyoji’s disciplined technique, his inherited generosity from Shiguma, and the example he is setting for Akane through his own rakugo.

Kyoji finishes “Three Men Lose One Ryo” to strong applause from the retirement-home audience. Akane watches him with awe and realizes that this is what a senior pupil’s rakugo is like. She is deeply impressed by the power and polish of his performance, calling it incredible.

Afterward, Akane reports the successful performance to Mamoru at Izakaya Umi. Mamoru is happy for her, and Akane excitedly explains that Kyoji’s rakugo was amazing. She also says that the customer-service techniques Mamoru taught her helped during her makura. Kyoji, who is also there, does not object to what she did, but warns her that some rakugoka dislike when an opening act uses a makura before the main story because they see it as presumptuous. He then tells Akane that when she talks about him, she should call him “Kyoji ani-san.” Akane asks if that means “like a brother,” and Kyoji confirms it.

Kyoji explains that becoming a pupil creates a parent-child relationship with the teacher. The master is treated as the parent, while the pupils are treated like the master’s children. Because of that, rakugoka refer to senior pupils as “ani-san” or “ane-san” out of respect, like older siblings. Akane understands the explanation, but what affects her most is that Kyoji has said her name for the first time.

Akane thanks Kyoji as “Kyoji ani-san” for everything he taught her. Kyoji accepts this with approval, and Mamoru and Hiiragi react warmly, saying it feels like Akane is growing up before their eyes. The mood changes when Hiiragi casually asks how school is going and mentions that it is already May, meaning Akane should have midterms soon. Akane panics, and Kyoji immediately scolds her. He reminds her that he already told her schoolwork must come first and declares that she will not be doing any rakugo events with him until her midterms are over. Akane can only bow and answer obediently as the chapter ends.

Chapter 11
This chapter begins at Akane’s school, where she is called into the guidance counseling room after forgetting that she had a meeting about her future plans. Her homeroom teacher, Machiko Iwashimizu, tells her that she is the only student in the class who has not submitted the required survey. Akane apologizes, and Iwashimizu reminds her to be more diligent about this kind of responsibility.

Iwashimizu reviews Akane’s recent midterm results and acknowledges that Akane worked hard, since she did not fail any subjects. Akane proudly says she really tried this time, but Iwashimizu dryly points out that this implies Akane had not been trying before. Still, she says Akane’s grades are not the main issue; the real problem is what comes next, because Akane needs to decide what schools she can realistically enter after graduation.

Akane answers directly that she is going to become a rakugoka, so she will not be applying to any companies or colleges. Iwashimizu is surprised at first, but then tries to treat Akane’s answer practically and begins looking into colleges within Akane’s grade range that have rakugo clubs on campus.

Akane insists that she is not going to college, which makes Iwashimizu become more serious. She tells Akane plainly that in the current era, choosing neither college nor employment after high school would put her in a very difficult position. She also says that she cannot approve Akane choosing such an obscure career path as rakugo without more consideration. Akane pushes back by asking whether Iwashimizu has ever actually seen rakugo before, then tries to invite her to a rakugo event happening later that day.

Iwashimizu shuts down Akane’s attempt to turn the meeting into an event invitation and reminds her that what she needs is the future plans survey, not a flyer. She gives Akane pamphlets for schools that match the requirements she had mentioned and tells her to look through them. Iwashimizu then orders Akane to submit the survey by the next day, but Akane still says the only thing she plans to write is “rakugoka.”

Iwashimizu tells Akane that she will stay after class to help her choose a preferred school and again insists that Akane submit her future plans survey properly. Akane realizes this could become a serious problem, because spending extra time after school with Iwashimizu would leave her with no time for rakugo lessons. She considers simply filling out the form with whatever answer will end the argument, but feels that doing so would be like admitting defeat.

While Akane is worrying in the hallway, a large male classmate nicknamed Jumbo notices her expression and asks whether Iwashimizu scolded her. Akane asks why he is there, and he says he is next for his guidance counseling interview. Jumbo points out that Akane already has permission from her parents and her master to pursue rakugo, so Iwashimizu’s opinion should not matter too much. When Akane reacts awkwardly, he says she has really grown up.

Akane teases Jumbo by saying she cannot believe he is the same little boy who used to fake crying to get her in trouble. Jumbo becomes embarrassed and tells her to stop bringing that up. Akane says getting into judo seems to have done him a lot of good, but he angrily asks what gives her the right to sound so patronizing. As they walk away from the counseling room, Jumbo correctly guesses that Akane looked down because she felt worried. Akane tells him she will be fine, and he accepts that.

Akane admits that she does not like feeling as though she lost an argument. Rather than backing down, she decides she will make Iwashimizu recognize that rakugo is the right career for her. Iwashimizu then calls Jumbo into the counseling room, apologizing for making him wait. During his interview, she confirms that he has an athletics recommendation for judo and that he plans to take lessons under Coach Saito.

After Akane leaves, Iwashimizu asks Jumbo whether Akane seemed upset to him. Jumbo says maybe a little, but he is confident she will be fine. Iwashimizu admits that she may have been too hard on Akane and says she should apologize later. Jumbo then asks whether Iwashimizu is against Akane becoming a rakugoka. Iwashimizu tells him that is none of his business, but he presses her to answer anyway.

Iwashimizu answers Jumbo’s question by saying she is not strictly against Akane becoming a rakugoka. She acknowledges that Akane has a certain amount of social intelligence, but admits that she is still worried about her. In class, she often sees Akane losing focus, muttering bizarre things to herself, or smiling at nothing in particular, which makes Iwashimizu unsure whether Akane is thinking realistically about her future.

Iwashimizu explains that students can be shortsighted when making life decisions, sometimes choosing their futures based on temporary emotions. Because of that, she suspects Akane may be doing the same thing and is trying to guide her more forcefully. Her concern connects back to what happened to Akane’s father, since Akane had already told her that she made up her mind to become a rakugoka despite that past. Jumbo then notices the rakugo event flyer and asks whether Akane gave it to her, but Iwashimizu says Akane did not exactly give it to her; she shoved it into her hand.

Jumbo asks Iwashimizu if she would like to go see the rakugo event with him. Iwashimizu immediately refuses, saying that attending an out-of-school event with a male student would damage her reputation. Jumbo suggests they can arrive separately instead, then tells her that she should watch some rakugo before deciding whether Akane is being shortsighted. Iwashimizu notices that Jumbo is arguing strongly on Akane’s behalf.

Jumbo explains that he has known Akane since elementary school and feels he understands the weight of her decision better than most people. He tells Iwashimizu that if she wants to understand what Akane is so passionate about, she should go watch rakugo for herself. Otherwise, judging Akane’s future without seeing what drives her would also be shortsighted.

Later, Iwashimizu goes to the Rakugo Café. At first she thinks the venue looks suspicious from the outside because it is located inside a mixed-use building, but once she enters, she finds it nicer than expected and notices that there is a good crowd. As she looks around, someone recognizes her as connected to Akane and asks whether she is Akane’s friend.

At the Rakugo Café, Iwashimizu is welcomed inside and told to enjoy the show. Ms. Yoshino notes that “Ozaki” came as well, making Iwashimizu realize that the café owner already seems to know Akane. Looking at the event flyer, Iwashimizu wonders why both Akane and Jumbo were so insistent that she attend this particular performance, especially when Akane’s name is not listed on the flyer. As the curtain opens, she questions what they wanted her to see.

Iwashimizu is then shocked when Akane herself appears onstage in a kimono. Since Akane was not listed as one of the performers, Iwashimizu does not understand why she is appearing at what seems to be a professional rakugo event. Akane bows before the audience, who respond with applause, confirming that she is not merely attending the event but performing in it.

As Iwashimizu watches, she is struck by how different Akane seems from the student she knows at school. Akane is performing in front of many adults, yet she looks calm, composed, and comfortable onstage. Iwashimizu realizes that Akane’s presence as a rakugoka is far more confident and mature than her usual classroom behavior. Akane begins addressing the audience, asking them to sit back and indulge her in a tale.

Chapter 12
The chapter opens from Iwashimizu’s point of view as she recalls a former student who once dreamed of becoming a comedian. Years after graduating, that student appeared on television, but not as a successful entertainer. He had quit a comedy development agency after only half a year and was now scraping by with odd jobs. Seeing the exhaustion on his face pains Iwashimizu, because she remembers having supported his dream and now wonders whether she could have helped him more.

Iwashimizu reflects that students are the ones who ultimately decide what they do next with their lives. Even so, she believes she may have been able to do more than simply approve his choice. She thinks that she could have told him what she truly thought, even if doing so led to an argument. Because she is a teacher, she feels responsible for the weight of her words when students come to her about their futures.

As Iwashimizu watches Akane take the stage at the Rakugo Café, she connects that past regret to her current attitude toward Akane. Her strictness is not simple opposition to Akane’s dream; it comes from the fear that another student may choose a difficult path without fully understanding what lies ahead. Iwashimizu tells herself that this sense of responsibility is why she reacted so strongly during Akane’s career counseling.

Akane begins her performance in front of the café audience. She tells a story about a priest at a Buddhist temple who falls ill and visits a doctor to find out what is wrong with him. Among the audience, people notice that Akane seems much more relaxed than before and that she has improved. Jumbo is also in the audience, watching her perform.

Within the story, the doctor asks the priest whether he has “tenshiki.” Akane plays the priest’s confusion as he silently tries to process the unfamiliar word. Since the priest does not understand what “tenshiki” means, he awkwardly guesses that he should probably answer no. The performance begins to build its humor around that misunderstanding.

Akane continues “Tenshiki” with the priest trying to hide the fact that he does not know what the word means. Too proud to admit his ignorance, he sends his apprentice Chinnen to find out for him. Chinnen goes to the doctor and directly asks what “tenshiki” means, allowing the story’s misunderstanding to continue through the apprentice instead of the priest.

Akane then delivers the reveal: “tenshiki” means flatulence. Chinnen misunderstands the word again and blurts out “spatulas,” which makes the audience laugh. Jumbo, watching from the crowd, thinks that it has been a while since he last saw Akane perform rakugo.

Within the story, the doctor explains that the word comes from an old medical text called the Shanghan Lun. As Akane performs the exchange between the doctor and Chinnen, Jumbo notices how different she seems now. He thinks that she must have worked extremely hard since the last time he watched her perform.

A flashback shows Jumbo helping Akane practice by recording or photographing her performance. Akane reacts badly to the image, but Jumbo points out a specific issue: Chinnen’s line of sight is inconsistent. Akane initially wonders whether that is really such a big problem, but Jumbo insists that it is.

Jumbo explains that the audience uses Chinnen’s gaze to imagine where the doctor is, how large he appears, and how far apart the two characters are. If Chinnen’s eyes wander all over the place, the audience cannot clearly picture the scene. Akane realizes that being watched by someone else makes practice feel different, and Jumbo asks her to try again.

As Iwashimizu watches Akane perform, she thinks that if she were in Akane’s position, she would have already turned her back on rakugo. She remembers that the expulsion of Akane’s father became major news and caused outrage over Issho’s actions, emphasizing how shocking and painful that incident must have been for Akane’s family.

Iwashimizu continues thinking about the aftermath of Shinta’s expulsion. Although Issho’s decision was heavily criticized at first, the controversy also increased public interest in Issho Arakawa’s rakugo. Some people treated the expulsions as proof of Issho’s strictness or genius, and over time, criticism shifted into defense and even praise. Iwashimizu remembers being angry that people could turn such a painful incident into something “legendary.”

Despite all of that, Akane still chose to become a rakugoka. Watching her perform, Iwashimizu realizes that this could not have been a casual or impulsive decision. She cannot fully imagine how much emotion and resolve must have gone into Akane choosing the same world that destroyed her father’s career.

Akane continues “Tenshiki.” In the story, Chinnen figures out that the priest does not know what “tenshiki” means and decides to give him the wrong answer. He tells his master that “tenshiki” refers to a sake cup. The priest, too proud to admit ignorance, immediately pretends he already knew that and even claims he once taught Chinnen about it.

As the performance goes on, Iwashimizu compares Akane’s work to her own experience as a teacher. Since she stands in front of a classroom every day, she understands how difficult it is to communicate something clearly to others. She also understands the pressure of speaking before an audience, but Akane is doing it alone with nothing but her voice, posture, expressions, and storytelling.

Akane then brings the misunderstanding back to the doctor. In character, the priest says that when the doctor asked whether he had “tenshiki,” he had answered no, but now claims it only slipped his mind. Believing “tenshiki” means a sake cup, he declares that he actually has a weakness for tenshiki and loves it. The audience bursts into laughter at the absurd confession, since they know “tenshiki” really means flatulence.

Iwashimizu continues watching Akane’s performance and realizes that rakugo is not something a person can simply pick up in a day. At first, she had thought she saw Shinta’s influence in Akane and assumed Akane was only indulging in a dream. However, after seeing Akane perform for herself, Iwashimizu remembers Jumbo’s words and accepts that judging Akane’s future without understanding what she is passionate about would have been shortsighted.

After the performance, Akane submits her future plans survey. Rather than listing colleges or companies, she writes her choices as “Raku,” “Go,” and “Ka,” spelling out “rakugoka” across the form. Iwashimizu understands Akane’s answer and tells her that if she is going to say it, she must also prove it through action. Akane replies that she still has a lot to learn.

Back in the guidance counseling room, Akane enthusiastically says she will sit through as many hours of counseling as Iwashimizu wants to give her. Iwashimizu asks whether Akane is truly not worried. She points out that by refusing college, Akane is severely narrowing her future options, and that the path she has chosen could end up hurting her in the long run.

Akane answers firmly that she is not worried at all. Iwashimizu accepts the survey and says Akane should thank Ozaki later. She then shows Akane a flyer for the Student Rakugo Karaku Tokyo competition, explaining that it was sent to the school. Akane realizes Iwashimizu must have gone to the Rakugo Café the previous day.

Iwashimizu suggests that Akane enter the competition, saying it cannot hurt to add another achievement to her record. She especially points out that the head judge is Issho Arakawa. The name shocks Akane, because Issho is the man who expelled her father and stands at the center of the goal she has been chasing.

Chapter 13
The chapter opens by introducing the Student Rakugo Competition Karaku Cup, specifically the Tokyo opening. The event is celebrating its twentieth anniversary, and the flyer lists Issho Arakawa as the head judge. The competition had traditionally been limited to college and vocational school students aged eighteen or older, but those rules have now been changed.

In a conversation about the competition, Issho explains that the eligibility restrictions were relaxed at his request so high school students could also participate. He says that because of his position, he does not often get the chance to observe amateur rakugo performers, especially younger ones, so he asked to see as wide a range of rakugo as possible. The person speaking with him is surprised by how approachable he seems, and Issho remarks that people often imagine him as more frightening.

Issho tells her to relax, saying that he is in the business of making people laugh. When asked why he chose to judge the competition this year, he says the twentieth anniversary is one reason, but there is more to it than that. He wants to show the younger generation the splendor of rakugo.

Issho explains that most young people today have never seen rakugo, which he considers a serious problem. When the interviewer suggests that he must be strongly interested in promoting rakugo to modern youth, Issho agrees and tells her to think about it.

Issho argues that modern society has an overwhelming abundance of entertainment options, so traditional performance arts cannot afford to simply wait for new audiences to appear on their own. He believes rakugo needs to do what it can to avoid losing its cultural presence and ensure that its flame does not burn out.

As an added incentive, Issho says that the winner of the Karaku Cup will get to have a conversation with him. A young man watching or reading the interview on his phone reacts to this and notes that Issho is as active everywhere as usual.

Akane goes to Shiguma’s place to ask for permission to enter the Karaku Cup. Guriko understands why she has come, but instead of encouraging her, he tells her she should either leave or help him clean the yard. Akane is confused by the blunt response, but Guriko frames the issue as something she needs to think through carefully before asking Shiguma directly.

Guriko explains that the Karaku Cup is an amateur competition. Because Akane will not officially become Shiguma’s pupil until the following spring, she is technically eligible to participate. However, Shiguma already wants to train her into a proper rakugoka as soon as possible, which is why he allowed her to work under Kyoji and the others. From Guriko’s point of view, entering the competition would be like taking advantage of a technicality and claiming she is “just an amateur” despite already being treated as part of Shiguma’s school.

Guriko calls that dishonest, but Akane understands his concern and still asks whether it is worth giving up a chance to compete in an event connected to Issho. Guriko points out that the prize for winning is a conversation with Issho Arakawa and says that sounds more like torture than a reward. Akane answers that speaking with Issho is exactly her goal. When Guriko asks what she even wants to say to him, Akane reveals that she wants to ask Issho why he expelled her father from the Arakawa School.

Akane thanks Guriko and acknowledges that he is only trying to look out for her. Even so, she says she does not have time to waste. She explains that in most rakugo organizations, it can take more than a decade to reach shin’uchi, while the Arakawa School allows promotion as long as a performer meets the requirements, regardless of how long they have been around. Because there is no guarantee that she will reach those requirements while Issho is still active, Akane believes the Karaku Cup may be a rare opportunity she cannot afford to pass up.

Akane admits that Guriko is right and that entering the Karaku Cup while technically still an amateur is not something she can feel proud of. Even so, she does not want to let the opportunity pass her by, especially because the prize would give her a chance to speak directly with Issho. As she starts to leave, still determined despite knowing the problem with her decision, Shiguma has already overheard the conversation.

Shiguma tells Akane that if she wants to enter, she may do so. Akane is stunned and asks whether he really does not mind, but Shiguma says that Guriko had already told her everything he would have said. Guriko protests at being called an eavesdropper, but Shiguma points out that the two of them were shouting loudly enough outside that it was impossible not to hear.

Shiguma adds that his answer would not have changed even if he had not overheard the conversation. He says Masaki once told him the same thing: there is no point trying to stop Akane once she has decided on something. Akane is touched by his trust, but Shiguma then says that if he is going to permit her to enter the Karaku Cup, he has one condition.

Shiguma tells Akane that she must win the competition by performing “Jugemu.” The story is explained as a comic tale about parents giving their child an extremely long name, which then gets repeated many times throughout the performance. Because “Jugemu” relies so heavily on drawing laughs from repeated phrasing, the condition is compared to telling Akane to win using only a straight punch. Shiguma asks what is wrong and whether she thinks she cannot win that way.

Akane accepts the challenge immediately, declaring that she can win the event with “Jugemu.” Shiguma tells her that she had better start practicing, and Akane bows deeply, thanking him for the chance. Afterward, Shiguma looks over the Karaku Cup information naming Issho as the head judge and reflects that “Jugemu” is not Akane’s usual style. Even so, he seems to recognize her willingness to take risks, thinking that she has always been a daredevil.

Guriko apologizes to Akane for snapping at her after Shiguma gives her permission to enter the Karaku Cup. He accepts that if Shiguma approves it, then the decision is settled, but he still warns Akane that winning with “Jugemu” is a difficult condition. He explains that “Jugemu” is so famous that even people who know almost nothing about rakugo have heard of it, which makes it hard to get laughs from the novelty of the story. Because of that familiarity, it is rarely performed at regular events and is not the kind of story people usually choose for a competition.

Akane later tells Guriko that she promised Shiguma she would win with “Jugemu” and asks what she should do next. Guriko answers that she should ask Koguma for help. When Akane asks why, Guriko explains that Koguma is the Shiguma School’s best terakoya, a specialist in older literary teachings. The chapter then cuts to Koguma in a library, establishing him as the next person Akane will turn to for guidance.

 

[Daniel]

Chapter 14
The chapter begins by introducing Koguma as the Shiguma School’s strongest terakoya, meaning he specializes in older literary teachings. Guriko explains that Koguma is a former Tokyo University student, graduated at the top of his class, and participated in rakugo club and amateur competitions while he was a student. Because of that background, Akane believes he is exactly the person she should ask for help with the Karaku Cup. She and Guriko go to the Higashi Fukagawa Library to find him.

When Akane asks Koguma to help her, he immediately refuses. Even after she pleads with him as “ani-san,” he remains firm and says he does not know her reasons, but from his perspective, entering an amateur competition after already being accepted into Shiguma’s school is unacceptable. Akane is shaken by how harshly he judges the situation, and Guriko realizes that although Koguma can be helpful, he also has a sharp tongue.

Koguma also says that Akane’s education is Kyoji’s responsibility, not his, and questions why Kyoji would neglect his duty by sending her elsewhere. When he refers to Kyoji, Akane calls him “Kyoji ani-san,” which prompts Koguma to object because Kyoji is actually Koguma’s junior. Guriko corrects Akane, explaining that Koguma is older and has more seniority: Koguma is twenty-nine and in his eleventh year, while Kyoji is twenty-eight and in his ninth year.

Akane apologizes to Koguma, but he says he is not offended and tells her to go back to Kyoji. Akane then bows deeply and insists that she truly wants to win the Karaku Cup. She tells Koguma that she does not care why he dislikes her entering the competition, because she needs this chance. When she shows him the flyer and he sees that Issho Arakawa is the head judge, Koguma changes his mind and agrees to help her.

Koguma then asks Akane what she is doing and tells her to hurry because he has a performance later. After hearing the situation, he says the first step is for her to show him her “Jugemu.” Akane is surprised that he wants her to perform it immediately, but Koguma says he cannot give advice without seeing her version first. Akane prepares herself and begins.

Akane performs “Jugemu” for Koguma, beginning with the story’s setup. In the story, Hachigoro visits a priest because it is already the seventh night after his baby son’s birth and he needs an auspicious name for the child. The priest gives him a long list of possible names, and Hachigoro decides to give his son all of them. The story then jumps ahead to the boy being given that full name, after which he gets hit on the head and develops a lump.

Akane launches into the famous long name, reciting the full “Jugemu Jugemu…” sequence at length. Koguma explains that the key to “Jugemu” is this repeated phrase, and that the performer’s ability to make the long name funny determines whether the story succeeds. Akane continues into the scene where someone tries to report that the child has been injured.

The narration explains that “Jugemu” requires skillful enunciation: every syllable of the long sequence must be spoken cleanly and clearly while maintaining a quick, rhythmic, enjoyable tempo. Akane can recite it quickly, but Koguma immediately notices a problem. Her delivery is fast enough that it risks becoming difficult to follow, and he reacts critically to the level of her performance.

Akane reaches the punchline, where the name takes so long to say that by the time the adults finish calling the child’s full name, the lump on his head has already healed. After she finishes, Koguma tells her the recitation itself was very good, but then scolds her for performing the whole thing aloud in public. Akane protests that he told her to show him her “Jugemu,” but Koguma clarifies that he meant a video of her practicing. When Akane says she could not stop once she started, Koguma says she should have stopped herself and tells her that this level will not be enough against the other students in the competition.

Koguma explains why winning with “Jugemu” will be especially difficult. Since “Jugemu” is a basic, fundamental rakugo story and often the first one beginners learn, most of the Karaku Cup audience will already know it well. Many of them will be rakugo amateurs from student clubs, just like the competitors, so they will know how “Jugemu” is supposed to sound from hearing masters perform it. On top of that, Akane will have to perform the same story twice for the same audience, once in the preliminary round and again in the final round.

Koguma tells Akane that if she wants to win the Karaku Cup with “Jugemu,” she cannot simply rely on ordinary laughs. Since “Jugemu” is not the right story for easy variety, Akane assumes Shiguma must have chosen it for a reason. She asks whether she should focus on improving her enunciation, but Koguma instead asks whether she knows the original sage, or ending, of “Jugemu.” Akane realizes that the ending she performed may not be the original one.

Koguma explains that the familiar version of “Jugemu,” where the child’s bump heals by the time the long name is finished, is not the original ending. In the older version, the story has a darker, more ironic conclusion: the name meant to bring the child endless good fortune instead becomes the reason help comes too late. This reframes “Jugemu” as more than a simple repetition gag.

Koguma says “Jugemu” was originally an ironic story about having too much of a good thing. Akane admits she never knew that, and Koguma bluntly tells her she failed to do proper research. When he asks whether she is truly interested in rakugo stories and wants to understand what she is doing, Akane starts to answer that she had only just been thinking about her own rakugo.

Koguma then identifies the weakness in Akane’s current “Jugemu.” When she repeats the long name, it is only sound to her, not words. He advises her to think carefully about what the name means and to study it thoroughly until the meaning becomes natural enough to pass through her fingers while she performs. Akane apologizes and thanks him, but also asks why he is helping her so much when he clearly does not approve of her entering the competition.

Koguma says there is no special reason and admits he is simply the type to hold a grudge. He then says he has to leave for his performance and tells Akane to do as she likes. Akane bows and thanks him for the trouble, calling him “ani-san.” Before he leaves, she stops him with one more request.

Akane and Guriko go to Koguma’s performance so Akane can study him directly. Guriko is surprised that Akane asked to watch Koguma’s rakugo for that reason, but Akane says she is curious. She also admits that she still does not understand what Koguma meant when he told her that the long “Jugemu” name was only “sound” to her, not real words. Guriko understands that her solution is to watch Koguma perform and learn from him.

Guriko tells Akane that Koguma is unusually good at digging deeply into a single story, saying he does not know any other rakugoka besides Koguma who would analyze one piece so thoroughly. He says Akane can learn from Koguma’s performance, and adds that by watching him, she will also find something else. Before Guriko can fully explain, the stage is prepared for Koguma’s appearance.

Koguma steps onto the stage in kimono, and Akane is immediately surprised by the difference between his normal self and his stage presence. The quiet, sharp-tongued senior she met in the library now looks composed, dignified, and commanding as a performer. His posture, clothing, and atmosphere make him seem like a completely different person once he is onstage.

Akane reacts with shock, realizing that the performer in front of her is really Koguma. She thinks that his appearance, demeanor, and overall presence have completely changed. Koguma then addresses the audience calmly and formally, thanking them for coming and beginning his performance.

Chapter 15
Koguma begins his performance, and Akane remains stunned by how different he seems onstage. The awkward, sharp-tongued person she met in the library now carries himself with confidence and composure, making him feel like a completely different person. He calmly welcomes the audience and thanks them for attending.

Koguma opens by explaining an old saying in the rakugo world: to be a zenza is to be “less than human.” He acknowledges that the phrase sounds extremely outdated in the present day, but says it points to how harsh and difficult the training to become a full-fledged rakugoka can be. He then adds that zenza life used to be even harsher in the past.

He shifts into historical background from the Edo period, introducing Karaku Sanshotei, who is described as the earliest professional rakugoka. Guriko tells Akane that this is where the Karaku Cup’s name comes from. When Akane asks what story Koguma is performing, Guriko says it is called “Foxes of Imado.”

Koguma explains that “Foxes of Imado” is told through Ryosuke, a zenza apprentice of Karaku Sanshotei. Through Ryosuke, the story presents an incident that shows the lifestyle and customs of rakugoka at the time, as well as how difficult zenza training was. Guriko tells Akane to listen carefully, saying Koguma chose this story because of what he had said to her earlier and is trying to teach her something through it.

Koguma continues by describing the conditions zenza faced in that era. They received no salary, could not be sure whether they would eat on a given day, and were forbidden from taking side jobs because they were expected to take pride in being entertainers. Their only money came from selling lots for prizes at rakugo performances. The prizes were kinkato, candies made from sugar and water, described as predecessors to the cheap traditional sweets children still enjoy. Akane listens and finds the story strange.

The narration then explains why “Foxes of Imado” stands apart from many rakugo stories. Normally, rakugo develops through conversations between characters, but this story is told almost entirely through narration. Because of that, it does not rely much on the usual back-and-forth wordplay for laughs. Even so, the audience finds Koguma’s performance satisfying to listen to.

Akane continues watching Koguma perform “Foxes of Imado” and is surprised by how entertaining the story is despite how much of it depends on historical explanation and narration. She realizes that performing this kind of rakugo must require a great deal of memorization and research, but Guriko tells her that this is not unique to “Foxes of Imado.” Koguma’s approach to rakugo as a whole is built on study.

Guriko explains that Koguma researches every story he performs in depth, including its historical background, the customs of the period, and the details of its setting. When Akane wonders why he goes that far, Guriko says it is probably because of Koguma’s nature, calling him a pessimist. Koguma once said he cannot perform confidently unless he has already covered every possible angle, but the deeper reason is that studying gives him a stronger understanding of the story itself.

Koguma believes that if he understands a story more deeply, he may be able to deliver a more entertaining performance. Akane realizes that this connects to what he told her earlier: she should study her stories more instead of treating them only as sounds to recite. Guriko summarizes Koguma’s strength by saying he uses the knowledge he absorbs to improve his craft, defining that as the rakugo style of Koguma Arakawa, the Shiguma School’s terakoya.

Koguma finishes “Foxes of Imado,” and the audience applauds, with someone commenting that it was a fascinating choice of story. The scene then recalls Koguma explaining that he was only presenting Akane with a model. Privately, Koguma wonders whether she understood what he was trying to convey: that learning new information can improve a person’s rakugo in many different ways, but only if the rakugoka has the desire to use that knowledge.

Later, Akane meets with Iwashimizu about entering the Karaku Cup. Iwashimizu says that if Akane plans to compete, she will file the paperwork for her. Akane is surprised that Iwashimizu will handle it, but Iwashimizu says she needs to understand who is competing for the school’s sake. She then adds that there is one more thing they need to discuss.

Akane asks Iwashimizu for book recommendations about the Edo period. She admits she does not know exactly what she will learn from them or how she will use the knowledge, but after hearing Koguma’s advice, she feels she cannot move forward without knowing more. Iwashimizu is confused at first, but Akane explains that she enjoys many kinds of books and only needs one recommendation because there are too many possibilities to narrow down alone. Iwashimizu begins listing options, including historical writings, Shugoro Yamamoto’s novels, illustrated books, and texts on old dietary habits, then decides it would be better to go to the library directly instead of only thinking about it.

The scene shifts to preparations for the Karaku Cup. Staff discuss how the event has grown much larger than expected, with three times as many applicants as the previous year and heavy media attention. An older organizer remarks that this year’s Karaku Cup should be quite an event, while the other person involved encourages the chaos, treating the excitement as a good sign.

The younger man is introduced as Kimihisa Kashio, a writer for Monthly Rakugo. He proposes a flashy headline about a rising star and the future of rakugo taking the stage. Although the organizer says Kashio talks like this often, Kashio insists that rakugo can also create the same kind of explosion of interest that manzai and sketch comedy have. Because new trends often come from young talent, Kashio believes this year’s Karaku Cup is especially worth watching.

Kashio explains why the competition has become such a major event. Issho Arakawa, widely treated as the greatest rakugoka of his generation, will serve as head judge alongside an elite panel. Kaisei Arakawa, the attention-grabbing futatsume, will be the emcee. With three times the usual number of promising young performers competing, Kashio predicts that something extraordinary is likely to happen.

The chapter then moves to the day of the Karaku Cup qualifying round. Posters for the event are displayed around the venue, and Akane arrives with a serious expression. The narration frames this year’s Karaku Cup as a special event, while Akane steps into the competition carrying the challenge of winning with “Jugemu” and the chance to face Issho through the tournament.

Chapter 16
The chapter opens at the Karaku Cup venue, where the level of media attention is already far beyond what the staff expected. Sae Komi, a writer for Monthly Rakugo, notices a media pass marked number 28 and tells Kashio that at least twenty-eight companies are covering the event. Kashio says even more will come the next day, making Sae question how much attention a student rakugo competition can really justify.

Kashio explains the structure of the event. The first day is only the preliminary round, where the thirty performers who passed the application stage will be narrowed down to eight finalists. Issho Arakawa and the other official judges will not appear until the following day, but Kashio insists the scale of the event makes sense despite Sae’s doubts.

Kashio says the attention comes from Issho’s status. As head judge, Issho has become a major pop-culture figure, and anyone who receives his approval will likely be flooded with work offers. He points to Kaisei Arakawa as proof of this effect, since Kaisei is currently considered the top young rakugoka on the scene while benefiting from Issho’s influence. However, Kashio also says Kaisei has enough talent to succeed even without his master’s help.

Kashio frames the Karaku Cup as more than a student event. To him, it is an audition for the next star of rakugo. His enthusiasm overwhelms Sae, but he keeps explaining that this year’s competition could reveal someone important for the future. He then identifies the favorite to win: a rakugo student who has already won the Karaku Cup twice and is famous for a free, creative narration style.

That competitor is introduced as Karashi Nerimaya. He appears at the venue with a confident, relaxed attitude, immediately drawing attention from the people around him.

Kashio continues explaining the competition field to Sae. Although Karashi Nerimaya seems shallow at first glance, Kashio says he already has many job offers from major companies and is still choosing to compete in the Karaku Cup. Sae assumes that means Karashi is one of those people who is simply good at everything and will likely win again, but Kashio says this year’s field is not limited to rakugo club students. Because Issho’s approval could become a major career break, stage actors and voice actors are also entering the competition. He points to one of them as a clear example.

The competitor Kashio identifies is Hikaru Koragi, a popular voice actor. Her arrival immediately draws attention, and Kashio explains that she is known for playing Saruel in Eden’s Nova. When he says this, he becomes excited because he is a fan of her work. He argues that Hikaru is not merely popular because of her looks or the characters she plays; she is a skilled actor who can convey emotion through breathing alone. Kashio concludes that Karashi and Hikaru are the two definite frontrunners of the competition.

When Hikaru smiles, Kashio is overwhelmed by how attractive she is, while Sae asks whether all voice actors are that striking. Karashi, however, does not appear intimidated. He says that voice acting and performing alone onstage are completely different disciplines, and declares that he will not lose on his own home turf.

Hikaru responds lightly after realizing Karashi is the defending champion, joking that she should have glared at him instead. She immediately says she would not actually do something like that, while the person accompanying her tells her not to overreact over every little thing. Sae and Kashio also notice that Hikaru takes time to acknowledge her fans, reinforcing the impression that she is both popular and experienced at handling public attention.

The scene shifts to Nogikuniya Hall, where competitors and attendees gather for the Karaku Cup. Hikaru Koragi draws immediate attention because of her voice-actor fame, and a fan nervously asks to shake her hand. Hikaru politely agrees, while the person accompanying her warns that once she starts responding to fans, there is no end to it.

Hikaru continues attracting attention from the crowd, with people whispering about whether she is famous and commenting on her appearance. A nearby woman then points out that Hikaru’s obi is crooked and offers to fix it for her, explaining that this often happens when someone is not used to tying a kimono by herself. The people watching note that Hikaru is handling a man’s kimono well despite being a woman.

Kaisei Arakawa then appears as the host for the event. His entrance immediately changes the atmosphere, and he introduces himself to the audience with confidence.

Sae reacts strongly to Kaisei’s presence, recognizing why he is considered the hottest young rakugoka around. Kashio explains that several major talent agencies have tried to approach Kaisei, but he has turned all of them down. According to Kashio, Kaisei’s appeal is not only his looks, but also the aura he gives off.

Kashio keeps studying the entry list, prompting Sae to ask why he is so fascinated by it. Kashio says the list includes the competitor Kaisei chose as his favorite to win. Sae is shocked that Kaisei has made such a selection, and Kaisei himself reacts with interest when he sees who it is.

Kaisei approaches Akane and tells her that he will finally get to see her compete at the event. He says he is glad to see her again, while others nearby are surprised by the interaction. The entry list identifies her as Akane Osaki, age seventeen, but from the outside she appears to be only an unknown high school student.

Kaisei approaches Akane directly and calls her by name, drawing attention because he clearly knows her. Akane greets him guardedly, taking a defensive stance because she remembers that he tried to hug her the last time they met. Kaisei casually says that only happened because she had given such a strong performance, but Akane refuses to accept that as an excuse. Their familiar exchange surprises the people nearby, especially Hikaru, who realizes Akane is not a college student but a high schooler and wonders why Kaisei is acknowledging her skill.

Hikaru continues trying to understand who Akane is. Kaisei then suggests that, after Akane’s bold earlier declaration, her presence at the Karaku Cup might mean she has accepted his invitation to become Issho’s pupil, or perhaps that she is only trying to raise her public profile. Akane rejects both interpretations. She says she does not care about either of those things.

Akane states that she has a question for Issho Arakawa, and that this is the only reason she is at the competition. Kaisei understands that she is referring to the winner’s interview with Issho, meaning she cannot afford to lose if she wants that chance. Akane confirms this and declares that ever since the day she met Kaisei, she has never treated the competition as a game.

Akane then hardens her resolve, thinking that she does not intend to let anyone beat her. The scene shifts into the hall, where the preliminary performances are already underway in front of a large audience.

In the audience, some competitors and observers treat the preliminaries casually, with one person saying it can be nice to hear amateur rakugo and another saying they did not need to watch the prelims. Hikaru’s companion, meanwhile, offers to help her understand anything she does not know and says Hikaru’s seniors will be arriving too, so she will not have to sit alone. Karashi wonders what Akane’s “Jugemu” will be like, while another person says Akane had mentioned something the last time he saw her.

Backstage, Akane remembers what she said: she has finally turned “Jugemu” into words. This reflects the lesson she received from Koguma, who told her that the long name in “Jugemu” had only been sound to her before. As the current performer finishes “The Pocket-Book,” the host praises the performance and prepares to call the next competitor. Kaisei watches from the side, thinking that it is time to see what Akane can do.

Kaisei announces the next performer as Akane, a third-year student from Ryokugyoku High School. Akane steps out from the wings onto the stage with a powerful, focused presence, ready to perform “Jugemu” in the Karaku Cup preliminaries.

Chapter 17
The chapter begins with a flashback to Akane researching “Jugemu” in the library with Iwashimizu. Iwashimizu recognizes it as the rakugo story with the long tongue-twister-like name and assumes Akane should be practicing her speed rather than reading. Akane says that would be the obvious assumption, but after studying, she has realized that the key to “Jugemu” is not simply speaking extremely fast.

Onstage at the Karaku Cup preliminaries, Akane carries that realization into her performance. She begins by explaining the custom behind the story: in the past, when parents had a new baby, they might consult knowledgeable elders or monks at a temple for advice on what to name the child. She notes that this practice was surprisingly common, making the story feel rooted in old customs rather than just a simple gag about a long name. Kaisei watches from the side and notices that Akane does not seem nervous.

Akane is aware of the scale of the venue, which can hold six hundred people and currently has nearly four hundred in attendance, far more than she is used to from the Rakugo Café. Even so, she reminds herself that she has never treated this competition like a game. As she continues “Jugemu,” she describes how the child, because of his extremely long name, grew into a rambunctious brat who got into fights with other children and made them cry. Kaisei recognizes that Akane’s confidence was not empty talk.

The audience and other competitors begin reacting to Akane’s performance with surprise. Her delivery makes it clear that she stands apart from the other student performers so far, and one observer judges that she is leagues above the others in her generation. The performance’s impact draws focused reactions from the hall, including from the notable competitors watching her.

As Akane performs “Jugemu,” the audience notices that she has clearly improved, but some still doubt whether the story can win the competition. The people watching recognize that Koguma’s advice helped her reach some kind of answer, but they wonder how she plans to change the most important part of the story. In the performance itself, Akane reaches the scene where a child complains that No-Chosuke hit him on the head and gave him a large bump, leading the parent to react in shock.

Akane then launches into the long “Jugemu” name, delivering the entire phrase with force and precision before attaching it to the parent’s disbelief that their son would do such a thing. Instead of treating the name as a meaningless tongue-twister, she makes it part of the sentence and the emotion of the scene.

The speed of Akane’s delivery shocks the audience and the other competitors. Some observers note that her recitation is sharper than when she performed it earlier in practice, but they also think it still looks like a straightforward recitation of the long name. One of them wonders whether she ignored Koguma’s advice, while Koguma quietly recognizes that Akane has courage and that this approach may be intended to help her win the final round later.

Koguma realizes what Akane is doing: in the preliminaries, she is limiting her main attack to the long “Jugemu” phrase itself. Akane repeats the sequence even faster, now using it in the parent’s line about hearing what their son did. Her performance shows that she is not trying to reinvent the entire story yet; she is concentrating the audience’s attention on that one famous phrase.

The key difference is Akane’s breathing. She reduces the number of breaths during the long name, remembering that fewer breaths create more momentum and that a single breath is ideal for a strong tempo. Since she must perform “Jugemu” in both the preliminaries and the final if she advances, she uses the preliminary round to set up the impact of the phrase rather than reveal everything at once. She challenges herself to deliver the long name in one breath this time.

Akane commits fully to that strategy, deciding that she will win using nothing but her “straight right punch”: the power of the “Jugemu” phrase itself. She throws herself into the recitation with intensity, treating the long name as the centerpiece of her preliminary performance.

Akane’s delivery becomes even more forceful as she continues the long sequence, filling the stage with the rhythm and pressure of the name. Her performance emphasizes speed, breath control, and momentum, showing that she has transformed the phrase from a memorized sound into an active weapon within her rakugo.

Akane’s preliminary performance ends with the audience loudly reacting to her one-breath “Jugemu” recitation. People in the hall call her amazing and say she seemed almost professional. Jumbo asks Iwashimizu what she thought of Akane’s rakugo from a professional standpoint, and although Iwashimizu first says it was not bad, her enthusiasm quickly breaks through and she fully agrees that Akane’s performance was impressive.

Iwashimizu remembers recently seeing Akane and Jumbo doing jump-rope exercises, and she realizes Akane must have been training her lung capacity for this performance. Watching Akane’s effort pay off, Iwashimizu becomes even more invested and silently cheers her on, thinking that at this rate Akane may be able to win.

Hikaru Koragi, however, dismisses the idea that Akane can win. Although she acknowledges that Akane’s performance was very good, she argues that simply being technically strong is not enough. She compares Akane’s “Jugemu” to a highly talented singer performing a children’s song: impressive on its own, but not necessarily something that matches what the audience wants or helps establish a distinct personal brand. In Hikaru’s view, Akane is still “playing.”

Hikaru continues that no one who is merely copying an old rakugo story can stand a chance against her. Even so, she hopes Akane performs well, because defeating a strong opponent would add to Hikaru’s own legend. Akane then recognizes Hikaru as the girl whose obi she helped fix earlier, and Hikaru approaches her with tea, praising her performance and thanking her for the help with her kimono.

Hikaru privately reflects that she searched Akane’s name on her phone and found nothing, confirming that Akane has no public reputation. From Hikaru’s perspective, Akane is a nameless high school girl who is younger than her, but she is also pretty, talented, and has Kaisei Arakawa’s attention. Hikaru thinks those qualities are enough to guarantee Akane some admirers, but she also seems to be measuring what that means for the competition.

Hikaru continues evaluating Akane after watching her “Jugemu.” She thinks that to become the star of the Karaku Cup, she has to outdo Akane in every possible category. For Hikaru, beating Akane is not optional; it is the minimum requirement if she wants the competition’s spotlight to belong to her.

The preliminary round is described as much fiercer than an average year. Among all the competitors, the three who draw the most attention are Akane, Karashi Nerimaya, and Hikaru Koragi. Each of them stands out for a different reason: Akane as the unknown high schooler whose “Jugemu” shocked the venue, Karashi as the experienced two-time Karaku Cup winner, and Hikaru as a famous voice actor entering rakugo from another performance field.

The results of the preliminary round are then decided. Eight competitors advance to the final, including Akane, Karashi, and Hikaru. The finalists line up with visible confidence and tension, and the chapter frames the next stage as much more intense than the preliminaries. The final round now awaits, with Issho Arakawa present as the central judge.

 

[Daniel]

Chapter 18
This chapter opens after the Karaku Cup preliminary round, with Iwashimizu congratulating Akane for making it through the first round. She reminds Akane not to get carried away, since the real competition begins the next day, and tells her to rest and conserve her strength. Akane then asks where Koguma went, only to learn that he has already left.

Koguma, meanwhile, has left the venue and reflects that staying around or saying anything to Akane would not change anything. However, he did wait long enough to confirm that she had advanced to the next round before departing. Iwashimizu tells Akane that although Koguma may seem cold and aloof, she thinks he cares about her.

Akane says Koguma should be more honest and show that he cares, which makes Jumbo react in disbelief because the comment is coming from her. Iwashimizu then praises Akane for being able to recite the long “Jugemu” line so quickly. Akane explains that she has had “Jugemu” memorized since she was around four or five years old, and says that she learned it from her father.

The mention of Akane’s father leads into the reminder that Shinta taught her rakugo when she was little. Jumbo assumes Shinta might come watch the final round the next day, but Akane says he will not be there because he is away on a work assignment and is not even in Tokyo. Iwashimizu decides they have talked enough and tells Akane she is probably tired.

Before they part, Jumbo tells Akane not to let the pressure get to her, and Akane thanks him. She then realizes she left her fan behind. As Akane runs back, Iwashimizu and Jumbo talk about how Akane has been involved with rakugo since she was little. They also recognize that if she wins, she will have the chance to sit down and speak with Issho Arakawa, which could greatly affect her future as a rakugoka. Iwashimizu quietly says that she probably should not be saying it, but feels it is not right that Jumbo is the only one who does not know something important.

Akane returns to the empty green room to retrieve the fan she forgot. While there, she overhears Hikaru speaking loudly on the phone with her mother, saying she has to win the tournament if she wants to keep working as a performer and become a star. Akane hears Hikaru slip into a strong dialect while arguing over the phone, but Hikaru does not immediately realize Akane is there.

When Hikaru notices Akane, she quickly ends the call and panics internally, wondering whether Akane heard her accent. She tries to act calm and asks whether Akane needs something, but Akane reacts with excitement instead of suspicion. Akane says she has never heard someone talk that fast before and asks if it was a dialect, which makes Hikaru embarrassed because she is trying to present herself as a polished city girl.

Akane guesses that Hikaru is from Fukuoka and says the Fukuoka dialect sounds cute. Hikaru thanks her while still feeling uncomfortable, but the conversation becomes more relaxed. Akane then says Hikaru is amazing because she is both a voice actor and someone who performs rakugo. Hikaru responds by saying Akane is special too.

Akane answers that her father was a rakugoka, and that is all there is to it. Hikaru asks whether Akane’s father taught her rakugo, but Akane explains that it was not exactly formal instruction at first. She picked it up by watching him, and only later began receiving real lessons from her father’s master. Hikaru realizes this means Akane is studying under a professional rakugoka. Akane confirms this and adds that she begged to be allowed to enter the Karaku Cup.

Akane tells Hikaru that in the final round the next day, she needs to perform rakugo that will not disgrace her master’s name. Hikaru understands the weight behind Akane’s answer, and Akane apologizes for interrupting Hikaru’s phone call before leaving the room. Once Akane is gone, Hikaru continues thinking about her as an opponent.

Hikaru reviews everything she has learned about Akane: Akane is young, pretty, talented, noticed by Kaisei Arakawa, and a second-generation rakugo high schooler studying under a professional. From Hikaru’s point of view, Akane clearly has advantages that ordinary competitors do not. Because of that, Hikaru understands why Akane believes she can win with “Jugemu,” but the thought irritates her rather than intimidating her.

Hikaru’s polite exterior gives way to open frustration as she thinks that Akane makes her “so freaking pissed off.” She refuses to let Akane beat her. Elsewhere backstage, Akane notices the emotional atmosphere of the event, seeing competitors comfort each other after their performances. She comments that the Karaku Cup really does feel like a student competition.

Kaisei suddenly appears beside Akane, startling her, and says that the competition has a kind of passion that ordinary performances do not. Akane angrily asks why he keeps appearing out of nowhere, but Kaisei says it was only a coincidence. He praises her “Jugemu” from that day and guesses that she used it as a setup for something later. Akane’s reaction gives away that he is right, and Kaisei admits he had only been guessing.

Kaisei then gives Akane a sharper warning. He says that if the preliminary performance was truly her best effort, he would lose interest in her immediately. Akane says she would not mind that at all, but Kaisei continues by pointing out that she is in a difficult position because her story is still “Jugemu.” Since Akane once said she would catch up to his level quickly, Kaisei tells her that if she still intends to do that, simply winning the competition will not be enough.

Kaisei tells Akane that if she wants to make her mark in the final round, she cannot simply win the Karaku Cup. He says she has to completely blow away his master, Issho Arakawa. Akane rejects the idea that she needs Kaisei to tell her this, but he leaves while saying he looks forward to the next day. To Kaisei, the true test is whether Akane can tear away Issho’s mask and force a real reaction from him.

As the final round approaches, Akane’s resolve sharpens. The thoughts and warnings around her all point in the same direction: she has to win, but ordinary victory will not be enough. Akane focuses on the fact that if she cannot win in front of Issho, she will not have gained anything from entering the competition. Her goal is not just the trophy, but the chance to reach the man at the center of her father’s expulsion.

The scene then shifts to the next morning outside the venue near Nogikuniya Books. Media have gathered in large numbers, and people comment that the real star of the show has arrived. A car pulls up, and photographers swarm as Issho Arakawa appears for the final round. His arrival makes it clear that the competition has entered a different stage from the preliminaries.

Issho steps out before the press with his usual composed, intimidating presence. Seeing the crowd, he remarks that it is quite a gathering for such an early morning. With Issho now present as head judge, the chapter frames the Karaku Cup final as a highly charged and turbulent event.

Chapter 19
Akane leaves for the Karaku Cup finals while speaking with her mother, who apologizes that she cannot cheer for her because her request for time off was not approved. Her mother jokes that she had wanted to confront Issho Arakawa directly, calling him the “old banning bozo,” but Akane quickly tells her not to take the joke too far and says that now she definitely does not want her to come.

Akane’s mother notices that the competition is weighing on her and points out that Akane is making the kind of face that says she has to win no matter what. Akane denies it, but her mother says that feeling is natural because competitions are all about winning. She encourages Akane to go out there and show everyone what she has.

Before leaving, Akane asks her mother why she was named “Akane.” Her mother explains that it was Tohru, Akane’s father, who chose the name. When Akane presses for the reason, the scene shifts to the Karaku Cup finals venue, where the excitement of the student event is already obvious. Guriko comments that the enthusiasm in the venue is palpable.

At the venue, Shiguma’s apprentices appear in obvious disguises. One of them explains that if Master Issho discovers Shiguma’s apprentices are present, things could turn ugly, so they are trying to avoid recognition. However, the others immediately point out that the disguises only make them stand out more, and they criticize the poor fashion sense behind the attempt.

Akane and the others continue reacting to Shiguma’s apprentices’ disguises. Akane bluntly asks why they are dressed that way, and one of the apprentices admits he is going to change after being told the outfit does not make him look cool. The awkward disguise attempt breaks the tension slightly, but Akane soon turns serious and asks Koguma if he can show her the video he recorded of her “Jugemu” performance from the previous day.

Koguma agrees to show her the video. As he watches Akane’s expression, he realizes what the look on her face means. He understands that she is carrying intense emotions into the finals because of what happened to her father, who had to quit being a rakugoka because of Issho Arakawa. Koguma also notes that with Issho present at the event, Akane will have to keep herself calm while performing under that emotional pressure.

Meanwhile, the chapter shifts to the judges’ side of the event. Another judge connected to the past incident arrives: Master Ikken. He greets a younger man, commenting that the man smells nice and always looks fresh for these events. The conversation quickly turns casual, with Ikken joking about age, perfume etiquette, and how some people are bothered by garlic smell, especially when it comes to ramen.

The younger man is introduced as Ryujaku Sakaki. Ikken notes that Ryujaku loves his ramen, and Ryujaku explains that he rarely comes to Tokyo except to judge the Karaku Cup, so he makes sure to get ramen while he is there. Ryujaku is described as a star of Kamigata rakugo from the Kansai region, and Ikken also points out that Ryujaku is busy beyond rakugo, including work in movies and television.

Ryujaku’s introduction leads into Ikken Arakawa’s status within the Arakawa school. The major figures who support Issho Arakawa are called the “Arakawa Arch Four,” and Ikken, known as “Ikken the Hedonist,” is one of them. Ryujaku refers to Ikken as his superior and says Ikken is approaching the No. 2 position in the school’s hierarchy, though Ikken responds modestly.

Ryujaku then warns Ikken not to mention Shiguma in front of Issho, calling Shiguma the actual No. 2 and implying that Issho still holds strong feelings about him. The others note that Issho remains prickly, but at least he has learned to keep his public and private personas separate. Even so, the thought of Issho judging the competition makes them uneasy.

The scene returns to the Karaku Cup stage after Megane Chuutoi finishes performing “Scared of Manju.” Kaisei thanks him and describes his version as a very enthusiastic telling, then turns the attention toward the judges for their comments.

Kaisei asks Issho directly what he thought of the performance. Despite the nervous atmosphere, Issho answers politely, saying he thought the performance was well done. He gives measured criticism that the pauses need work and explains that focusing on tempo would raise the performance to an even higher level.

The calm, encouraging response surprises the people watching. Someone notes that Issho is never like that when he is actually training someone, making his public judging persona feel noticeably different from his harsher private reputation. Issho continues by saying he is pleased to see the younger generation boldly trying to carry on the traditional art form.

As Issho continues giving calm, polite comments as a judge, others privately notice that he is trying too hard to look forgiving and understanding in public. Akane then notices Karashi, who casually teases her by calling her “Jugemu-chan.” When Akane objects to the nickname, Karashi shifts into his usual confident tone and asks her what the essential key to success is.

Karashi answers his own question by saying that the key is the ability to trust in oneself. He argues that there is no stronger “buff” than self-affirmation, but says that real self-trust needs evidence behind it. In his case, he believes he already has that evidence.

Karashi then heads toward the stage as the next finalist. His mindset is openly confrontational: he wants the confidence to face people who obsess over tradition and the classics, and then silence them with his performance. The narration emphasizes that Karashi is a major obstacle because he scored highly in the previous two years, raising the question of how Issho will react to him and his style of rakugo.

Karashi takes his place onstage with a fierce grin, determined to show everyone what “the new age of rakugo” is all about. The chapter ends on that challenge, setting up Karashi’s final-round performance.

Chapter 20
Karashi’s performance begins by showing why he chose rakugo in the first place. In a flashback, he thinks about how saying his hobby is stand-up comedy sounds plain, while saying “rakugo” makes him seem more cultured and interesting. That desire to create a clever image for himself is what first led him to join the rakugo club.

However, once Karashi actually watched rakugo, he found that he did not understand it. The old terminology and unfamiliar references, such as measurements like “sun” and “shingle nail,” made the stories hard for him to follow. He concluded that people cannot stay interested in something if they do not understand what it means, so he chose a different approach.

Onstage in the finals, Karashi begins a modern-style story about a graduate student presenting his research at a big university. The performance is clearly set in the present day, with modern academic language and contemporary subject matter. Hikaru notices this and wonders if telling a modern story is allowed even though the event is supposed to be about rakugo.

The audience and judges quickly understand that Karashi is performing an original story instead of a classic piece. One person objects internally that the classics are not all there is to rakugo, and Akane, remembering Karashi’s words from before, recognizes that this is his own original rakugo. Karashi’s story continues with the graduate student being questioned about his presentation.

The joke then turns on the graduate student using unclear abbreviations. He says there is room to rethink the “BM issue,” but when asked what “BM” means, he struggles because he himself does not fully understand the term in context. The performance highlights Karashi’s central idea: making rakugo easier to follow by using modern settings and language, while still building comedy through misunderstanding.

Karashi’s original story continues with the graduate student panicking over the meaning of “BM.” Once left alone, he desperately searches for what the abbreviation could stand for because his professor expects him to understand it. The setup mirrors the structure of “Tenshiki,” where a character pretends to understand a term and then has to find out its meaning from someone else.

Akane realizes that Karashi is not simply ignoring classic rakugo. His performance is a modern arrangement of “Tenshiki”: the setting and keyword have changed, but the core structure remains the same. Instead of directly repeating the old story, Karashi takes the basic concept of a classic piece and rebuilds it into a more familiar modern situation.

Karashi’s version turns the old “Tenshiki” punchline into a modern joke about “BM.” The performance lands with the audience, and Karashi frames the laughter itself as proof that his approach works. His rakugo is specifically designed to hit at the Karaku Cup finals by making the material easier for the crowd to understand while still using a traditional rakugo foundation.

Karashi’s philosophy is then made clear. He believes rakugo is a long-standing traditional art form, but also popular entertainment whose goal is to make people laugh. Because times change, he thinks simply repeating centuries-old stories without adjustment will not connect with modern audiences. His method is to take old traditions and remix them so they suit the ears of the present-day audience.

The performance ends with Karashi’s style fully displayed: bold, modern, self-confident, and deliberately audience-friendly. The narration presents this as the rakugo styling of Karashi Nerimaya, emphasizing that his strength lies in adapting the classics rather than merely rejecting them.

After Karashi finishes, Kaisei calls the performance quite original and asks Issho what he thought. The atmosphere becomes tense because Karashi’s modernized approach directly challenges the traditionalist image associated with Issho, leaving everyone waiting for Issho’s judgment.

Issho gives Karashi a harsh first reaction, saying plainly that the performance did not make him laugh. However, he immediately follows this by acknowledging that Karashi received the most enthusiastic audience response of the day. Rather than dismissing the performance outright, Issho frames the question as whether Karashi can take the shared legacy of rakugo and make it his own. He says creativity is, in many ways, the lifeblood of a rakugoka.

Issho then says Karashi’s story was suggestive in an amusing way and that he is eager to see what Karashi’s future holds. This shocks the others because, despite saying the performance was not personally funny to him, Issho still recognizes Karashi’s talent and praises the potential behind his adaptation. Backstage, Karashi is confused by the contradiction, wondering why anyone would get excited over praise from someone who also said the piece was not funny.

Ryujaku points out that Karashi looks like he is smiling anyway, which makes Karashi lash out in embarrassment. Still, Karashi believes he has made his point clear: if someone only retells a classic without adding a creative angle, they cannot beat him. His confidence comes from the idea that originality and adaptation are necessary weapons in modern rakugo.

Koguma recognizes that this creates a difficult hurdle for Akane. He notes that Karashi’s pure skill is not especially different from the other students, but his ability to adapt classic rakugo gives him an advantage. In that sense, Karashi is the opposite of Akane: he wins people over by putting a new spin on old material, while Akane performs a classic straight with exceptional technique.

Koguma also observes that the day’s audience seems to prefer Karashi’s “curveball” approach over a straightforward classic. This worries him because he did not expect Issho to praise that kind of adaptation, especially since it seems like exactly the sort of thing Issho would normally dislike. The performance order also works against Akane, because Hikaru Koragi is scheduled directly before her. The chapter ends by emphasizing that Hikaru, of all people, is about to perform next.

Chapter 21
Hikaru Koragi is announced as the next finalist, and some audience members react more to her celebrity status than to her rakugo. One fan is ecstatic to hear the “golden voice of Saruel” in person again and says she wants to support her financially, while other audience members dismiss Hikaru as a voice actor rather than a serious rakugo contestant. Some even assume that, if a voice actor made it to the finals, the Karaku Cup must be weaker than usual.

Hikaru appears onstage in a kimono, but her beauty and fame work against her at first. Instead of making the audience more attentive, they make people less willing to take her performance seriously. The narration emphasizes that audience attention is essential to a successful rakugo performance, making this a difficult opening situation for an amateur.

Hikaru responds by immediately launching into dialogue rather than beginning with a normal setup. She cries out, “Wake up!! Dear, wake up!” instantly cutting through the audience’s skepticism and drawing their attention back to the stage. Issho reacts sharply to the move, recognizing that she skipped straight into the dialogue specifically to capture the room.

The narration explains that many stage actors and voice actors entered the contest that year, but Hikaru was the only one among them to reach the finals. Her bold opening makes the judges reassess her, with one noting that she has guts. Another judge adds that this is especially true because of the story she chose, setting up Hikaru’s rakugo as a risky and deliberate performance rather than a celebrity novelty.

Hikaru’s chosen story is revealed to be “Shibahama.” The story opens with a wife waking her husband and urging him to get up and go to the shore, while the husband reacts in confusion and asks why he would need to go there. The performance immediately shifts into the world of the story rather than returning to a normal explanatory opening.

“Shibahama” is described as one of the most famous pieces in the ninjobanashi genre, the heartwarming branch of rakugo. Koguma tries to tell himself that Hikaru’s choice is probably just a coincidence, but he cannot ignore the connection: “Shibahama” is the same story Shinta performed on the day he was expelled.

Because of that connection, Hikaru’s performance creates a heavy reaction among those who know Akane’s past. Akane, Koguma, and the others watch uneasily, with the question hanging over them of why Hikaru had to choose that particular story right before Akane’s turn.

Hikaru continues the story with the wife telling her husband that there is something she wants to show him. She reveals a purse containing fifty ryo and asks if he recognizes it, explaining that it is the purse he found at the beach in Shiba three years earlier. The husband rejects the idea at first, saying she could not have saved that much money on her own, but the wife insists that he should remember it.


Hikaru continues “Shibahama” with the wife confessing the truth behind the purse of fifty ryo. She admits that she lied when she told her husband it had only been a dream. At first, she had been happy too, because the money could have paid off their debts, but then she imagined the misfortune that might come from using money that was never theirs. Her emotional confession begins pulling the audience into the story.

As Hikaru performs the wife’s guilt and sadness, Issho recognizes the strength of her delivery. He notes that she is extremely expressive and that her voice is filled with emotion. The audience also becomes more invested because Hikaru intentionally gives the wife a richer, more fully developed presence, turning her into a character the crowd can emotionally follow.

This style is identified as theatrical rakugo. Hikaru is not simply using her voice-acting experience to imitate characters; she is bringing a dramatic actor’s emotional intensity into rakugo. Because “Shibahama” is a heartwarming ninjobanashi, that theatrical approach fits the material, allowing her to make the wife’s feelings the center of the performance.

The chapter then flashes back to Hikaru deciding to enter the Karaku Cup. Mr. Madoka questions whether this is really the right time, since she already has fame from Eden’s Nova. Hikaru answers that her fame is tied to the story and that people do not truly care about her own skill yet. She wants to test her ability as Hikaru Koragi the actor, not simply as a popular face attached to an existing franchise.

Madoka respects Hikaru’s acting ability, but he is skeptical because rakugo is not the same as performing one character’s lines. Rakugo requires one person to carry the entire story alone, and he wonders why Hikaru would push herself so far when she already has more than enough work. His doubt shows how risky her decision is, especially because success in rakugo demands a different kind of performance from her usual work.

During practice, Hikaru struggles badly with “Shibahama.” She cannot naturally handle the wife’s speech and complains that it is too difficult, even joking that she is a Tokyo woman and not suited to the dialect or delivery. Even so, she refuses to back down. Rather than accepting that the story is beyond her, she throws herself into the work and insists she is much better than her failed attempts make her look.

Madoka finally realizes what truly makes Hikaru dangerous. Her greatest weapon is not her looks or even her acting ability, but the reckless intensity with which she throws herself toward her goal. Back onstage, Hikaru’s grind and determination are fully visible in her performance. Watching her, Akane recognizes the threat in front of her, while Madoka declares from the heart that the winner of the event will be Hikaru Koragi. The chapter ends with Hikaru’s performance still overwhelming the room, leaving Akane to face an even higher wall before her own turn.

 

[Daniel]

Chapter 22
Hikaru finishes her performance of “Shibahama,” and the audience erupts into massive applause. Her performance has completely overturned the earlier skepticism toward her as a celebrity entrant, leaving her visibly stunned by the crowd’s reaction. The applause is treated as the strongest response of the day so far.

The intensity of the reaction makes the judges and observers uneasy because it happens directly in front of Issho Arakawa. The situation reminds them of the Shinchū promotion test six years earlier, when Shinta also performed “Shibahama” before the incident that ended with him being expelled. As Kaisei asks Issho for his thoughts, people wonder if something similar could happen again.

Issho begins by saying that he does not believe “Shibahama” is an appropriate story for a student to perform. His reasoning is that the story’s main theme is the love between husband and wife, and it only works if the performer can fully embody the subtle emotions of both characters. Because of that emotional difficulty, he considers it a very hard story for a student to handle.

However, Issho’s criticism becomes praise. He says Hikaru’s grasp of the wife’s state of mind is so strong that he can only marvel at the level of skill she has reached as a performer. Although he notes that her rakugo was somewhat theatrical, he still calls it a fine performance. After praising Hikaru, Issho turns to Ryujaku and asks for his judgment as well.

After leaving the stage, Hikaru politely thanks the staff and takes a breath backstage. Even after receiving strong applause and praise from Issho, she immediately starts picking apart her own performance. She thinks her voice rose too much at the beginning, that her tempo was a little too fast, and that she should have taken a longer pause in one part. Rather than simply basking in victory, she shows the habit of a serious performer who cannot stop analyzing her own flaws.

Still, Issho’s praise clearly reaches her. His words that her mastery left him marveling, and that she has “reached” a high level as a performer, echo in her mind. Hikaru smiles to herself and clenches her fist, quietly satisfied that her skill as an individual performer has finally been recognized, not just her fame from an existing role or story.

Backstage, Karashi comments that Hikaru gave a good showing “for the voice actor lady,” while another person says second place would still be impressive. Someone immediately pushes back, reminding them that the competition is not over because the “Jugemu” girl is next. The others are skeptical, but one of Akane’s supporters insists that Akane will not lose and tells them to look at the state of the audience.

The audience has gone loose after Karashi’s modified rakugo and Hikaru’s emotional ninjobanashi. They are satisfied with what they have already seen, which makes the next performance harder to land. Since Akane is performing “Jugemu” next, her straightforward classic style now has to follow two crowd-pleasing performances that already gave the room a complete emotional meal.

The situation becomes even more dangerous for Akane because the audience is no longer simply waiting to hear her rakugo. At this point, their attention has narrowed to a simple question: whether Akane can beat Hikaru, the voice actor who just shocked the room. The chapter’s tension shifts from Hikaru’s success to Akane’s burden, as Akane’s turn approaches under the worst possible audience conditions.

After Hikaru’s performance, the audience begins treating the competition as though it has already reached its climax. Some audience members leave their seats, saying the “real Karaku Cup” is already over and assuming the next performer is just another high school girl. This confirms how badly the atmosphere has turned against Akane before she even steps onstage.

Meanwhile, Koguma and Akane’s teacher manage to get into the backstage area by pretending to be a chaperone teacher and her student. Koguma is frustrated that the staff believed the disguise so easily, but the teacher reminds him that he wanted to visit the waiting room, so this was the price of getting inside. Despite that effort, she bluntly concludes that Akane is going to lose.

Koguma understands why she is worried. The students’ skill level is higher than expected, and Akane is carrying intense personal feelings because she chose rakugo after her father’s expulsion. With Issho Arakawa sitting right there as a judge, Koguma wonders whether Akane can truly unlock her full potential while controlling her emotions. He also realizes that the crowd’s current mood is against her, meaning that if Akane pushes herself too hard, she could hurt her own performance.

They then find Akane near the backstage stairs. Koguma watches her carefully and thinks she seems the same as always, but he still asks whether she is really all right. The concern is direct: Akane does not even want to look at Issho, so the question becomes whether she can stay calm and perform while he is watching.

Akane answers by revealing that she has seen Issho Arakawa perform rakugo before. This happened before she asked to become Shiguma’s apprentice. Remembering that performance, she describes the experience as strange, shifting the focus away from simple fear or hatred and toward whatever impression Issho’s rakugo left on her.

Akane explains that she still cannot forgive Issho for what he did to her father, but watching him perform forced her to confront another truth. She believes it would be foolish to try becoming a rakugoka while refusing to admit Issho’s greatness. Her feelings are tangled between anger, admiration, and the need for answers, so she decides that the simplest thing she wants is to know why Issho expelled her father.

Akane says that once she knows the reason, she feels she will finally be able to move forward. Koguma accepts her answer, though he and the others still worry that this only adds more pressure right before her turn. When someone suggests that Akane might not be able to move forward unless she wins, Koguma quietly counters that Akane may not be the one who is stuck.

Koguma then declares that his “little sister apprentice” will not come up short. Akane is surprised by his confidence, and Koguma sends her off with encouragement. Rather than telling her simply to win, he tells her to go out and give Issho a taste of Akane’s rakugo.

Akane steps onto the stage for her turn. The panel emphasizes the weight of the moment: the audience is still present after Hikaru’s overwhelming performance, Issho is watching from the judges’ seat, and Akane now has to face him directly through her own rakugo. As Akane prepares to begin, Issho’s attention sharpens, with him focusing not merely on her as Shinta’s daughter or Shiguma’s apprentice, but on the question of Akane’s rakugo itself.

Chapter 23
Akane steps onto the Karaku Cup finals stage for her turn in “Jugemu.” Koguma watches from the audience and feels relieved when he sees her composure, thinking that she does not look nervous even with Issho sitting in front of her. However, he also understands that this calmness does not mean the pressure is gone; it means Akane has prepared herself to fight.

The real difficulty of Akane’s performance is not only Issho’s presence, but the state of the audience. After Karashi’s modernized rakugo and Hikaru’s emotional “Shibahama,” the crowd feels as though the competition has already peaked. The tension in the room has faded, creating a lull, and Koguma recognizes that Akane is beginning her performance in a hostile environment where the audience is no longer naturally leaning forward.

Akane begins by steering the room toward the theme of children. She speaks about how, in a world full of lies and falsehoods, people often say the preciousness of children is a universal truth. She then adds that people also say one cannot truly understand that feeling until they have a child of their own. Her opening frames “Jugemu” not just as a silly name story, but as a story connected to parental feeling and the value placed on a child.

Akane then enters “Jugemu” itself. The story begins with a couple discussing their newborn child, who is almost seven days old. The mother reminds the father that the seventh night is the important oshichiya naming ceremony, but the father misunderstands and jokes about taking the baby to a pawn shop. The mother immediately scolds him, establishing the comic rhythm between the foolish father and the more sensible mother.

Akane continues “Jugemu” with the mother explaining that the baby needs a proper name. The father agrees that a child cannot go through life nameless, then suggests asking the temple to name him. The mother reacts in disbelief at first, but Akane keeps the exchange light and controlled, using the parents’ misunderstanding to build the rhythm of the story.

The father worries that going to a temple for a name sounds unlucky because temples are associated with mourning the dead. The mother corrects him and explains that a monk’s name can turn bad luck into good fortune, giving the baby a longer and more prosperous life. She sends him off quickly to ask the monk for a good name, moving the story toward the famous naming sequence.

Backstage, the others notice that Akane’s delivery feels different from the preliminaries. In the prelims, she had the crowd buzzing over her skill before she even reached the tongue-twister portion, but now she is speaking smoothly, with a calm tempo instead of forcing an immediate impact. This suggests that Akane has read the room and adjusted to the audience’s current mood.

The observers realize that today’s conditions are not the same as before. Akane has looked at the audience and likely understands that she is not in a position to win by repeating the same flashy approach. Even so, Hikaru does not think that is enough reason for Akane to give up, and she wonders whether Akane has become a little too relaxed after her success in the preliminaries.

Akane’s earlier resolve echoes through the scene: she had said she needed to perform rakugo that would not shame her master’s name. After making such a declaration, it would not make sense for her to simply stop trying. Onstage, the father arrives at the temple and begins asking the monk for help naming his newborn child, showing that Akane is still moving steadily through “Jugemu” rather than abandoning the story’s structure.

Akane continues “Jugemu” with the father explaining to the monk that his wife wants the baby named by the temple so the child will live longer. The monk briefly misunderstands, thinking the baby has already died, before the father corrects him. As Akane performs, Koguma notices that she is much more low-key than she was in the preliminaries, where her technical skill was placed at the forefront right away.

Rather than seeing this as a flaw, Koguma realizes that Akane’s calmer delivery has its own effect. Her performance is easy to listen to, almost like having anime or radio playing in the background while working. The audience does not have to strain or focus intensely to follow her, which makes her rakugo feel comfortable rather than demanding.

This becomes the key to Akane’s adjustment. After Karashi and Hikaru gave two powerful performances that put their personal strengths on full display, Akane chooses not to force the audience into another high-pressure moment. Her “Jugemu” is less stressful to listen to because it does not demand attention in the same aggressive way, and that lightness turns out to be exactly what the tired audience needs.

The audience gradually relaxes and starts listening naturally. Karashi notices this from backstage and admits that Akane’s approach is not bad. Even though she is not creating the same explosive reaction as Hikaru, she is quietly rebuilding the room’s attention by matching the audience’s current mood.

The narration emphasizes that the most important part of a performance is holding the audience’s attention. Akane understands that a performer cannot simply keep pushing harder and harder; the approach has to match what the audience needs. She realizes that the competitive tension in the room has already dissipated, so instead of fighting that atmosphere directly, she adjusts her rakugo to flow with it.

Koguma recognizes that Akane’s performance now feels less like a student competition and more like a regular professional paid event. Because the audience has already felt the nerves of the contest and the heat of everyone’s effort, repeating the same intensity from her preliminary “Jugemu” would backfire. Akane has judged that the crowd does not need another explosive push right now.

Instead, Akane gives the room a cooler tone. The others realize that rakugo is not always about overwhelming the audience with a fiery performance; sometimes the correct move is simply to meet the audience’s needs. Her strength is not only her technical skill, but her ability to adjust on the spot to the atmosphere in front of her.

This connects directly to the lesson Akane learned from Kyoji: kibataraki. She remembers that the point is to anticipate what the other person wants and be ready to provide it. In this case, the “other person” is the entire audience, and Akane is applying that customer-service-like awareness to rakugo itself.

Koguma understands that Akane is handling the situation like a professional rakugoka would. She is not just performing “Jugemu” at the audience; she is shaping the performance around the audience she actually has. The stage is now set, and the chapter ends with the question of whether Akane’s calmer, audience-focused approach will pay off or flame out.

Chapter 24
Akane continues “Jugemu” from the point where the father asks the monk to name his newborn son. The father explains that his wife believes a name from a monk will help the baby live longer, then casually asks the monk to give the child a name. The monk begins considering names for a boy, and Akane keeps the performance gentle and easy to follow, continuing the calmer approach she chose at the end of Chapter 23.

The monk first suggests names based on cranes and turtles, both symbols of long life. He proposes a crane-related name because cranes are said to live for a thousand years, but the father immediately asks for something better. The monk then suggests a turtle-related name because turtles are said to live for ten thousand years, but that still does not satisfy the father. He wants a name that sounds as though the child will live forever.

While watching Akane, Hikaru begins to understand that Akane’s rakugo is fundamentally different from her own. It is not simply that Akane changes the tone of her voice. Her way of speaking itself changes, and she uses only small shifts in facial expression rather than dramatic theatrical force. Hikaru realizes that this kind of subtle performance is also possible in rakugo, and that Akane is doing something she herself had not even considered.

The monk then suggests “Jugemu,” explaining that it comes from the Infinite Life Sutra and carries the meaning of endless blessings. The father likes it, but still asks what else the monk has. This begins the famous chain of names, but Akane presents it with meaning rather than treating it only as a tongue-twister. The performance starts turning the long comic name into a series of wishes for the child’s happiness and longevity.

Akane then moves through several parts of the name and explains their auspicious meanings. Gokō-no-sūrikirezu refers to an unfathomably long span of time, illustrated by the idea of an angel slowly wearing away a massive boulder over thousands of years. Kaijari-suigyo refers to all the grains of sand and fish in the sea, things so countless they can never run out. Suigyōmatsu, Unraimatsu, and Fūraimatsu point to the endlessness of water, clouds, and wind, things whose true beginning and end cannot be found.

She continues with more parts of the name. Kūnerutokoro-ni-sumutokoro means having a place to eat, sleep, and live, which Akane frames as something everyone needs. Yaburakōji-no-burakōji refers to a hardy, inspiring tree that changes through the seasons. Paipo, Shūringan, Gūrindai, Ponpokopī, and Ponpokonā are explained through an ancient Chinese kingdom whose king, queen, and children lived extraordinarily long lives. By attaching meanings to each phrase, Akane makes the audience listen to the long name not as random noise, but as a collection of hopes placed onto a child.

Finally, Akane adds Chōkyūmei and Chōsuke, explaining them as names connected to extremely long life and helping for a long time. She then says that, if she had a son of her own, that is what she would name him. This line shifts the performance into something more personal and emotional. The chapter then transitions into Akane’s memory of her mother, who begins explaining that Akane herself was born a little earlier than expected.

The flashback continues with Akane’s mother explaining the circumstances of Akane’s birth. Akane was born earlier than expected, and Tohru was away for work at the time, so he did not reach the hospital until the evening after she was born. When he finally arrives, he is awkward and emotional as he learns how to support the newborn’s head properly, then holds Akane for the first time.

After seeing his daughter, Tohru quietly suggests the name Akane. Akane’s mother explains that he was thinking of aka, meaning “scarlet,” because of the sunset he saw from the hospital. She also says the color scarlet carries good meanings, including averting evil and long life. By adding ne for sound, Tohru arrived at “Akane.” Akane’s mother then adds that, of course, he had put a lot of thought into it.

This memory connects directly back to Akane’s performance of “Jugemu.” Her mother’s words explain the emotional center of the story: parents do not choose names randomly. A name carries their hopes, fears, and wishes for the child. Onstage, Akane resumes the story with the father returning from the monk and telling the mother that he brought back a list of names to give their son.

The audience begins reacting to the absurdity of the situation. They wonder if giving the child every name would be too long or even crazy, and someone thinks that choosing only one name might be risky if the child dies. Akane’s performance starts guiding the audience away from treating the long name as only a silly gag and toward understanding the anxiety behind it.

The narration then explains the historical background behind that anxiety. In the Edo period, childhood death was common enough that people had a saying: a child belonged to the gods until the age of seven. Because of that, parents often gave children names filled with wishes for longevity, hoping they would survive into adulthood. This reframes “Jugemu” from a story about a ridiculously long name into a story about parents desperately wishing for their child to live.

Akane’s interpretation makes the real key of “Jugemu” clear. The important part is not the long phrase itself, even though that is what usually makes the story funny. The important part is why the parents gave their child that name in the first place. Through her calm delivery, Akane brings out the unconditional love parents feel for their child, turning the foundation of the joke into something warm and emotionally persuasive.

Akane returns fully to “Jugemu” after explaining the feelings behind the child’s name. In the story, the baby starts crying, and the mother tries to soothe him. Because the parents gave him every name the monk suggested, even comforting the child becomes difficult, since calling out to him means saying an absurdly long name. The audience listens as Akane turns the exaggerated premise back into comedy, but the warmth from her interpretation still remains underneath it.

The mother begins reciting the full name while trying to comfort the baby: Jugemu Jugemu Gokō-no-sūrikirezu, Kaijari-suigyo no Mizugyōmatsu, Ungyōmatsu, Fūraimatsu, Kūnerutokoro ni Sumutokoro, Yaburakōji no Burakōji, Paipo-Paipo no Shūringan, Shūringan no Gūrindai, Gūrindai no Ponpokopī no Ponpokonā, Chōkyūmei no Chōsuke. The long name fills the page and the room, but because Akane has already explained each part, it no longer feels like a meaningless sound. It now carries the full weight of the parents’ wishes for their child.

Akane then shifts into a small, playful moment, having the mother play peekaboo with the baby. She says, “Peek a boo, where are you?” while using expressive but simple gestures. The action itself is ordinary and gentle, but it draws the audience deeper into the scene because Akane’s performance no longer feels like someone showing off a technique. It feels like the audience is watching the mother and child directly.

Then Akane delivers the twist: the baby is gone. The audience reacts with laughter and surprise, while Hikaru watches in confusion, wondering what is happening. This moment shows the payoff of Akane’s quieter approach. She has not been trying to overpower the room like Hikaru did or challenge tradition like Karashi did. Instead, she has slowly built a clear image in the audience’s mind until even a simple “the baby’s gone” line lands strongly.

As the chapter closes, the effect of Akane’s rakugo becomes clear. The more the audience listens, the more the imagery she describes takes over. At the same time, Akane’s own presence seems to fade from the stage, as though the crowd is no longer seeing the performer sitting there, but the world of “Jugemu” itself. Her calm, subtle performance has fully pulled the audience into the story, turning her earlier restraint into a major strength.

Chapter 25
Akane’s “Jugemu” continues with a new visitor arriving at the family’s home. An elderly woman, identified as the old glue maker, comes to pay her respects after hearing that the family has named their baby. However, because the child’s name is so long, she admits that she had trouble learning it and wanted to memorize it properly before greeting him.

The old woman explains that she had the monk write the name down for her. She plans to read it directly from the paper when calling the baby’s name, and she asks the parents to tell her if she makes any mistakes. When she sees the baby, she immediately becomes charmed by him and starts to address him affectionately.

She then begins reading the full name from the paper: Jugemu Jugemu, Gokō-no-sūrikirezu, Kaijari-suigyo no Suigyōmatsu, Ungyōmatsu, Fūraimatsu, Kūnerutokoro ni Sumutokoro, Yaburakōji no Burakōji, Paipo-Paipo no Shūringan, Shūringan no Gūrindai, Gūrindai no Ponpokopī no Ponpokonā, Chōkyūmei no Chōsuke. Because Akane has already explained the meaning behind the name, the audience can now follow the long recitation more clearly while still enjoying how absurdly impractical it is.

Akane stretches out the final “Chōsuke” portion, turning the old woman’s careful reading into something solemn and exaggerated. The paneling widens out from the house to the surrounding town, showing how far the drawn-out name seems to echo. The joke builds from the contrast between the name’s warm meaning and the old woman’s overly formal way of reciting it.

The punchline lands when the old woman’s reading slips into the rhythm of a funeral prayer. She says “May his soul rest in peace,” complete with a gong-like effect, making the father panic and shout that his son is still alive. The audience bursts into laughter, showing that Akane’s slower, more immersive setup has paid off: she has made the long name meaningful first, then turned that meaning back into comedy at exactly the right moment.

Hikaru watches Akane’s performance and struggles to understand what she is seeing. Hikaru knows her own “Shibahama” performance was powerful because she leaned into emotion and made the audience cry, but Akane’s “Jugemu” does not seem to be aiming for that same obvious impact. To Hikaru, Akane’s performance feels strange: she cannot immediately tell whether it is “good” or “bad,” because Akane is not visibly showing off the way Hikaru expects a strong performer to do.

The confusion deepens because Akane’s performance feels almost too natural. In the world of the story, a child calls out “Jugemu Jugemu!” and the scene continues as though the characters are simply living their everyday lives. Hikaru tells herself that Akane seems mediocre because nothing looks forced or flashy, yet she also feels uneasy. Even though Hikaru drew more obvious laughter and applause, Akane’s performance gives her a sick feeling because it is affecting the room in a quieter, harder-to-measure way.

Koguma then explains what is happening. Normally, a performer can still feel second-rate if the audience is mainly focused on how talented they are, because that means the crowd is still seeing the performer first. But in Akane’s case, the opposite is happening: the audience is concentrating so deeply on the world she is creating that they stop sensing Akane’s presence on the stage. In other words, the performer is “disappearing,” leaving only the story behind.

Koguma recognizes this as the kind of illusion an audience sometimes experiences when watching a master rakugoka at work. The crowd no longer sees someone sitting onstage and performing characters; instead, they feel as if they are looking directly into the world of “Jugemu.” Koguma is shocked that Akane is creating that effect at the Karaku Cup, where she is still only a student performer.

Akane continues the story with someone coming to the house to see Jugemu. The mother apologizes because her son, whose full long name she recites again, is still asleep. The long name once again becomes the core of the comedy, but because Akane has already made the family’s feelings and daily life feel real, the audience stays absorbed instead of treating it as just a tongue-twister routine.

The mother asks the visiting child to wait while she goes inside to wake her son. She finds Jugemu still asleep and begins calling him by the full name, starting again from “Jugemu Jugemu.” The gag builds from the practical problem created by the parents’ loving but ridiculous choice: even waking the child up requires the mother to spend too long saying the name.

By the time the mother is still in the middle of calling the name, the child waiting outside gives up and says he will leave so he will not be late for school. This lands as the payoff: Jugemu himself is still asleep, while the visiting child or classmate outside has waited long enough that he decides to go on without him. The audience laughs because Akane’s immersive setup has made the absurd inconvenience of the long name feel like a real everyday problem inside the story.

As Akane’s “Jugemu” continues, Koguma reflects on why the performance is working so well. He first thought the familiarity of “Jugemu” might hurt Akane, since most of the audience already knows the story and can likely perform or recite parts of it themselves. But he realizes that this familiarity may actually be helping her. Because the story is so well-known and simple, the audience can easily picture the scenes Akane is creating. Instead of fighting against the audience’s expectations, Akane uses those expectations as a foundation.

The focus then shifts to Shiguma’s earlier teaching. Shiguma explains that Akane is talented because she makes good use of the fundamentals, and because she learned everything he taught her very quickly, even from a young age. However, that talent also creates a problem. In Shiguma’s eyes, Akane is too good at the basics, which means she can sometimes get by on technique without fully reaching the core of the characters.

Shiguma identifies the missing piece as a deeper connection with the characters’ minds. Akane can understand the surface of a role well enough to perform it convincingly, but that is not enough to truly move an audience. A performer has to ask what the character is thinking in that moment: what Hachigoro is thinking, what Kumagoro is thinking, or what the monk is thinking. In other words, Akane has to enter the characters’ outlooks, not merely play their voices and gestures.

This explains why Shiguma chose “Jugemu” for her. Because “Jugemu” is such a simple story, there is almost no room to hide behind extra jokes, flashy arrangements, or clever reinterpretations. That simplicity forces the performer to focus on the characters’ perspectives. Shiguma says he wanted Akane to learn the importance of the character’s outlook, and he also admits that simply telling her the answer would have been too easy.

Shiguma believes there is great value in struggling with that kind of problem and reaching the answer alone. He sees Akane’s effort as something that is already beginning to grow. Her “seeds” have started to sprout, and it is only a matter of time before they bear fruit. This frames Akane’s current performance as the result of everything she has been absorbing: Kyoji’s audience awareness, Koguma’s research-minded approach, and Shiguma’s demand that she find the characters’ inner viewpoint herself.

The judges also begin to recognize something unusual in Akane’s performance. Ikken initially thinks it would not be remarkable if Akane were merely good, but then he notices her tempo and rhythm. There is something unmistakable in the way she performs, something that points beyond ordinary student skill. The judges sense that whoever taught her has shaped her rakugo in a very specific way.

The chapter closes with the realization landing among the judges: the person teaching Akane must be Shiguma Arakawa. This makes Akane’s performance more than just a student’s “Jugemu.” It becomes proof of Shiguma’s influence, carried onto a stage where Issho is watching directly. Akane has not simply survived the difficult audience conditions after Karashi and Hikaru; she has used a quiet, immersive performance to make everyone feel the presence of her master’s rakugo.

 

[Daniel]

Chapter 26
The chapter opens with the judges confirming what they sensed at the end of Chapter 25. There is no mistaking the source of Akane’s rakugo: the person teaching her must be Shiguma Arakawa. This realization sharpens the meaning of Akane’s performance, because she is no longer being viewed as only a talented student. Her “Jugemu” is now being read as proof that Shiguma has taken on a new apprentice and passed his rakugo to her.

Akane continues the story by saying that perhaps the boy grew rapidly because of his very long and lucky name. However, the good fortune of the name does not make him calm or well-behaved. As he grows, he becomes a little too rambunctious, and the story shifts from the baby’s naming to the chaos caused by a lively child.

Akane then moves into the next comic beat of “Jugemu.” The boy falls into a river, and someone has to call for help using his full name: Jugemu Jugemu, Gokō-no-sūrikirezu, Kaijari-suigyo no Suigyōmatsu, Ungyōmatsu, Fūraimatsu, Kūnerutokoro ni Sumutokoro, Yaburakōji no Burakōji, Paipo-Paipo no Shūringan, Shūringan no Gūrindai, Gūrindai no Ponpokopī no Ponpokonā, Chōkyūmei no Chōsuke. The urgency of the situation clashes with the absurd length of the name, turning the parents’ loving wish for longevity into a practical disaster.

By this point, the atmosphere of the hall has completely changed. Earlier, the Karaku Cup audience was watching with the mindset of judging a competition of skill, especially after Karashi and Hikaru’s intense performances. Now, Akane has shifted them into simply enjoying a show. The crowd is no longer focused on comparing contestants moment by moment; they are absorbed in the world of the story and laughing naturally.

The judges recognize that Akane herself has become the catalyst for this change in the room. Even so, Ikken still finds the situation strange. Since the expulsion incident, Shiguma was believed to have refused to take any new apprentices, so Akane’s existence alone raises questions. On top of that, her skill is far beyond what would normally be expected for her age, making her connection to Shiguma even more suspicious and significant.

Issho also turns his attention toward Shiguma’s intentions. The question is no longer just how good Akane is, but what Shiguma is planning by teaching her. Meanwhile, Koguma reflects that if Shiguma had simply told Akane the meaning of “outlook” from the beginning, she likely would have failed badly. Because Akane tries her hardest to master everything she is given, being handed the answer too directly would have made her chase the idea mechanically instead of discovering it through struggle.

That struggle is part of why Akane’s rakugo becomes so compelling. Her effort, sincerity, and gradual growth make people want to root for her. Koguma realizes that he, too, has fallen under her spell. Akane has not won the room by brute force or flashy emotion; she has made the audience care about the story, the characters, and her own attempt to carry Shiguma’s rakugo forward.

Akane’s “Jugemu” reaches its climax with the river incident. After the boy falls into the water, the adults panic, fearing that he may have already been swept downstream. The father desperately refuses to believe it, repeating that it cannot be true and that he will not accept such an outcome. The scene briefly turns tense, using the parents’ fear to show how much love is still beneath the comedy of the long name.

The rescue attempt becomes ridiculous because every urgent call for help has to include the boy’s full name. The father shouts the entire name at maximum volume, from “Jugemu Jugemu” all the way to “Chōkyūmei no Chōsuke,” while someone else complains that the child should just send them a sign that he is still alive. The name that was meant to bless the child with long life now becomes a comic obstacle in an emergency.

The punchline lands when Jugemu appears on his own. He explains that help was taking so long to arrive that he simply got out by himself. The father is stunned to find him already safe, and Akane closes the story by presenting it as the fond, familiar tale of “Jugemu.” The audience explodes into laughter, showing that her slower, emotionally grounded setup has paid off in the most traditional comic ending of the piece.

After Akane finishes, the effect of her performance spreads across the hall. Hikaru and the other contestants react in silence, while the audience is still caught up in the afterglow of the story. Even the reporter realizes he has failed to keep writing his article because he was simply sitting there enjoying the show. This confirms how completely Akane shifted the atmosphere: people stopped watching only as judges of a student competition and started enjoying rakugo as entertainment.

The audience’s reaction also shows that Akane has accomplished something larger than just landing jokes. Someone says that rakugo is “so cool,” which captures the effect of her performance on the room. Her “Jugemu” does not merely make people admire Akane’s skill; it makes them feel the appeal of rakugo itself. Kaisei then thanks Akane for the performance, formally bringing her turn to a close.

With Akane’s performance over, Kaisei turns to Issho for judgment. The room immediately tightens again, and the other contestants, judges, and spectators all focus on what Issho will say. The chapter section ends with the central question hanging over the venue: after recognizing Shiguma’s influence and watching Akane’s rakugo move the room, what did Issho think?

After Akane finishes “Jugemu,” the room waits for Issho’s judgment. Instead of giving ordinary praise or criticism, Issho turns directly toward Akane and calls out, “You.” The focus of the hall immediately narrows onto her, and Akane stiffens under the weight of his attention.

Issho then says, “You know you don’t belong here, right?” The statement shocks the room because it sounds less like a judging comment and more like a direct personal accusation. Akane does not deny it. She answers firmly, “Yes, sir,” showing that she understands what he means even though the audience and contestants do not.

The audience begins murmuring in confusion. People wonder what Issho’s words were supposed to mean, and even those backstage are unsettled by the comment. Karashi and Hikaru both react seriously, recognizing that something important has just happened even if the full meaning is not publicly clear.

The scene then shifts to after the Karaku Cup results. People leaving the venue talk excitedly about how incredible the year’s competition was. The winner is treated as a shocking result, but not an unreasonable one. One person says no one reacted with disbelief or asked “why,” meaning Akane’s victory surprised people, yet her performance had convinced them enough that the result made sense.

Even so, Issho’s comment remains the one unresolved point. While people accept the outcome, some still do not understand why Issho told Akane that she did not belong there. That lingering question keeps the victory from feeling simple, because Akane’s performance has clearly touched something deeper connected to Issho, Shiguma, and her place in rakugo.

As the winner, Akane is escorted to a reception room for a scheduled fifteen-minute talk with Master Issho. A staff member offers her a notepad, warning that Issho can be intimidating and suggesting it might help her keep track of her questions. Akane refuses, saying she will be fine.

Akane enters the room and faces Issho directly. Instead of preparing a list of polite questions, she says she only has one question. The chapter section ends with Akane standing before the man who expelled her father, finally ready to ask the thing she has carried with her throughout the Karaku Cup.

Chapter 27
The chapter opens after the Karaku Cup results, with the other finalists reacting to Akane’s win. Karashi is visibly frustrated, and someone tries to calm him down by saying that second place is still a strong result. Karashi rejects that comfort because he did not even take second place alone; he tied with Hikaru, the “voice actor,” and he is also bothered by the judges’ explanation for why Akane was chosen.

The judges’ ruling is then reviewed. Kaisei explains that the competition was so fierce that even the judges had difficulty choosing a winner. However, the judges separated the finalists by the nature of their performances: Karashi’s modernized piece was described as closer to sketch comedy, while Hikaru’s emotional “Shibahama” was closer to a dramatic stage monologue.

By contrast, Akane’s “Jugemu” was judged as pure rakugo. The judges decided that they had no choice but to reward her dedication as a rakugoka, making her the winner. This clarifies why Akane won despite Karashi and Hikaru both giving extremely strong performances: the judges saw Akane as the one who most directly embodied rakugo itself.

Karashi is not mainly angry about his performance being compared to sketch comedy. What truly bothers him is Issho’s comment after Akane’s performance, when Issho told her, “You know this isn’t where you belong, don’t you?” Karashi interprets that as Issho basically saying that a professional should not be ruining an amateur competition.

This realization changes how Karashi views the result. He admits that he and Hikaru are ultimately still amateurs, while Akane was treated as someone operating on a different level. Rather than simply losing to another student, Karashi feels as though he was never competing on equal terms with her in the first place.

Inside the reception room, the atmosphere is already tense even before Akane asks her question. The sponsor representative tries to frame the meeting as a normal winner’s conversation, saying that a one-on-one with the winner would usually be a warm and pleasant situation. However, the tension is so thick that even the people in the room can barely relax. The representative prompts Akane to begin by asking Master Issho whatever she wants to ask.

Akane does not waste the opportunity. She brings up the event from six years earlier, when Shiguma Arakawa’s pupil attempted the shin’uchi promotion test. She then asks Issho directly why he expelled Shinta Arakawa from the school. The question cuts straight to the core of Akane’s motivation and the unresolved incident that has shaped her entire path into rakugo.

The people around them immediately panic. They understand that Akane has asked about the most sensitive subject connected to Issho, since he has never responded to questions about the controversial expulsion in the six years since it happened. The sponsor representative is visibly shaken, and even Karashi, who had already been unsettled by Issho’s earlier comment, reacts in shock at how boldly Akane has brought it up.

Issho does not answer right away. Instead, he smiles and asks to be left alone with Akane. The representative nervously agrees and asks everyone else to leave the room, turning what had been a formal winner’s interview into a private confrontation between Akane and the man who ended her father’s career as a rakugoka.

Once they are alone, Issho immediately shifts the focus. Rather than answering the question directly, he asks Akane whether Shiguma told her to ask him that. When Akane looks surprised, Issho tells her there is no need to react that way. He says he is not so blind that he could fail to recognize whose apprentice she is, confirming that he has already seen Shiguma’s influence in her rakugo.

Akane answers Issho’s suspicion directly. Shiguma did not tell her to ask about Shinta’s expulsion, and she insists that her master has nothing to do with the question. She is asking because she personally wants to know. When Issho asks why, Akane finally says the truth out loud to him: Shinta Arakawa is her father, and he is the rakugoka Issho expelled.

Issho accepts that answer with a quiet “I see,” then changes the direction of the conversation. Instead of immediately explaining why he expelled Shinta, he asks Akane whether she was there on the day of the promotion test. Akane confirms that she was. Issho then asks what she thought of Shinta’s performance, pushing her to judge the very performance that shaped her life as both a daughter and an aspiring rakugoka.

Akane’s answer is emotional but firm. She says there is nothing she could possibly criticize, because the applause told the whole story. To her, Shinta’s performance was unquestionably worthy of the shin’uchi title. However, Issho immediately challenges that belief, asking whether she can truly say that from the bottom of her heart. His question forces Akane to look past the audience’s applause and confront what she actually saw onstage that day.

Akane hesitates and remembers Shinta’s performance more carefully. In the flashback, Shinta appears nervous during his makura, even stumbling slightly as he says he is “just a rakugoka.” Akane admits that maybe his makura was a little stiff, but she explains it away by saying that his career was riding on that performance. To her, that pressure was understandable, and the audience’s awareness of it only made everyone want to cheer for him even harder.

That is the point Issho seizes on. He asks whether applause itself is what makes a performance worthy of shin’uchi. If the audience senses the performer’s nerves and then supports him out of sympathy and compassion, Issho questions whether that can truly be called the performance of a master. He broadens the point beyond rakugo, saying the same logic applies to acting, music, and other performing arts as well.

Issho then gives Akane the core of his answer. In his view, applause must come in response to the art. If applause comes before the art has fully earned it—because the audience is trying to support the performer’s weakness—then that applause is not proof of mastery. It is proof that the performer’s weakness has become visible. For Issho, that is unacceptable at the shin’uchi level.

The chapter ends with Issho stating his standard plainly: a shin’uchi needs rock-solid strength, and anyone whose weakness is visible onstage does not deserve to become an Arakawa shin’uchi. This reframes Shinta’s expulsion in a harsher but clearer way. Akane believed the applause proved her father’s worth, while Issho believed the nature of that applause exposed a fatal weakness. The confrontation does not resolve Akane’s pain, but it finally gives her the beginning of an answer from the man who ended her father’s rakugo career.

Chapter 28
Issho continues speaking to Akane after explaining why he rejected Shinta’s promotion. He says that he is in a state of mourning, not for a person, but for rakugo itself. To him, the days when rakugoka stood at the center of the media are long gone. Very few people today can even name ten rakugoka, and even fewer have seen a live performance in person.

Issho then points to the modern entertainment landscape. People now have endless options: concerts, sports, comedy, classical music, museums, art, games, anime, and foreign movies. Because audiences have so many choices, Issho believes every creative field has to make an enormous effort just to attract attention. He asks Akane what she thinks today’s rakugoka must do in order to help rakugo grow and move forward as a culture.

Akane thinks back to how she saw her father’s rakugo. To her, rakugo is almost magical: an act that entrances the people watching it, moves them, excites them, and gives them energy. But Issho’s view is stricter. He agrees that rakugo should be polished, disciplined, and powerful enough to overwhelm an audience, but says that accepting an inexperienced performer even once would lower the quality of the art and cause the culture to stagnate.

Issho then explains what he believes is required of a shin’uchi in the Arakawa school. They must have enough power and skill to make the masses sit up and take notice. To him, anyone who cannot fully believe in their own art has no place climbing to the school’s highest peak. Akane recognizes the arrogance in that statement, and Issho openly admits that it is arrogant.

Issho expands on his philosophy by saying that rakugoka are not merely entertainers. They are keepers of a traditional art. Their duty is to preserve and protect what they inherited from their predecessors, then pass it down to the next generation. For Issho, that responsibility is what defines every rakugoka living in the present day.

From that perspective, Issho declares that Arakawa does not need anyone who would weaken rakugo. The observers outside the room process his words with difficulty. They understand that his reasoning is meant to protect the culture, and that his harshness comes from the pride of someone who sees himself as an authority on the art. Even so, they cannot ignore how cruel he is toward the apprentices beneath him.

The narration frames Issho as terrifying despite the logic behind his words. He may be protecting rakugo culture, but the way he does it is merciless, especially toward people who fail to meet his standard. He is described as a demon who lives for the sake of his art. Akane listens to everything and quietly answers, “I see,” absorbing Issho’s explanation without yet pushing back.

Akane listens to Issho’s explanation and does not reject the seriousness behind it. Instead, she tells him that she is glad. She is glad that his decision to expel her father was not random cruelty or a shallow abuse of authority, but something backed by a clear purpose and conviction. Even though his reasoning is harsh, Akane can at least recognize that Issho acted according to his own view of what rakugo and the Arakawa school must be.

However, accepting that Issho had a reason does not mean Akane agrees with him. She makes it clear that her own answer has not changed. The thing she still believes in is her father’s art. Even after hearing Issho’s standard for shin’uchi and his belief that Shinta’s visible weakness disqualified him, Akane refuses to accept that her father’s rakugo was worthless or that it should have been cut away from the future of Arakawa rakugo.

Akane then turns Issho’s judgment into her own declaration of war. She says she will use the art that Issho “cut loose” and make him admit he was wrong. This is a major shift in her goal. Up to now, she wanted to know why her father was expelled so she could move forward. Now that she has heard Issho’s answer, her path becomes clearer: she will prove the value of Shinta’s rakugo through her own performances.

After making that declaration, Akane ends the meeting politely. She thanks Issho for his time and says she is leaving. Issho, left alone in the reception room, responds with a quiet smile. Rather than becoming angry, he says he is glad too, because Akane’s reaction is exactly what he had been hoping for. His response suggests that he wanted Akane to leave the room with sharpened resolve, not simple closure.

The chapter then shifts away from Akane and Issho to Hikaru after the competition. She sits in a car, still processing the Karaku Cup result. The idea of “competition” bothers her because, from her perspective, she was not truly competing with anyone. This reflects the shock of Akane’s victory: Hikaru had entered the Karaku Cup to test herself as an individual performer, but Akane’s rakugo forced her to confront something outside the framework she had imagined.

Someone observes Hikaru’s reaction and says she must be the strong-willed type who hates to lose. Hikaru’s frustration confirms that Akane’s win has affected her personally. Like Karashi, she is not simply brushing off the result as a normal loss; Akane’s performance has unsettled her understanding of what it means to compete in rakugo.

After Akane’s meeting with Issho, the focus returns to Hikaru, who is still processing the Karaku Cup outcome. Her loss to Akane has clearly shaken her, and her frustration turns into curiosity about the larger rakugo world. She asks about famous classical rakugoka besides Issho Arakawa, showing that Akane’s performance has pushed her to look beyond celebrity, acting, and the narrow contest result.

The conversation brings up other major names in classical rakugo, including Master Enso Sanmeitei, who is described as Hajakensho, the Guardian of Truth. Hikaru is beginning to see that rakugo is not limited to Issho’s shadow alone. There are other masters, other standards, and other kinds of authority in the art form, which suggests that her rivalry with Akane may push her deeper into rakugo rather than away from it.

The chapter then shifts back to Issho and Kaisei. Kaisei tells Issho that he thought Akane performed splendidly, but Issho immediately asks why Kaisei did not tell him about her beforehand. Kaisei answers that Issho surely could have identified whose apprentice she was on his own, and adds that he thought Issho might enjoy watching Akane more if he discovered it through her rakugo rather than being told in advance.

Issho warns Kaisei not to get too clever with him. He says that regardless of who a performer is, all he watches is the art itself. This reinforces the harsh standard he explained to Akane earlier: lineage, sympathy, background, and personal drama do not matter to him if the rakugo itself does not meet his standard. At the same time, he tells Kaisei that the same applies to him as well.

Kaisei accepts that challenge with confidence, saying that he will catch up very soon. Issho answers that he is aware, showing that he recognizes Kaisei’s ambition and ability. Their exchange positions Kaisei not only as Issho’s grandson and the Karaku Cup host, but also as someone pursuing Issho’s level from within the Arakawa school itself.

Once alone, Issho reflects on Akane’s performance and recognizes Shiguma’s style in it. He curses Shiguma inwardly and says he is still chasing illusions, suggesting that Issho sees Shiguma’s rakugo philosophy as idealistic or misguided. Even so, Akane has clearly caught his attention. The final question he asks is whether she has the quality to live up to that standard.

The chapter ends with Akane’s declaration still hanging over the story. Issho has explained why he expelled Shinta, Akane has chosen to prove him wrong through the rakugo he rejected, Hikaru has begun looking toward the wider world of classical rakugo, and Issho himself is now watching to see whether Akane can truly carry Shiguma’s style forward.

Chapter 29
The chapter begins after the Karaku Cup, with Akane and Hikaru riding the train together. Hikaru notices that Akane looks surprisingly down for someone who just won. She cannot directly ask what Akane discussed with Issho, but she can guess that he was probably harsh with her. Even though Akane excited the audience with Shiguma’s rakugo, Hikaru senses that the conversation with Issho left a heavy mark on her.

Hikaru also reflects on how demanding rakugo is compared to what she expected. She understands that it is proper for Akane to visit her master’s home and report what happened at the competition, but she does not understand why she herself has been brought along too. Akane explains that her master said he wanted to meet Hikaru, which surprises her.

When they arrive at Shiguma’s home, they find that Shiguma is not there. Instead, they are greeted by a long-haired man who casually explains that Shiguma is out working but should return soon if they want to wait. Hikaru quietly asks who he is, and Akane explains that he is Maikeru Arakawa, Shiguma’s longest-serving disciple. He is the eldest brother apprentice to everyone in the group, including Akane and Koguma.

Maikeru already knows that Akane competed in the student rakugo competition. He acts hurt that nobody told him about it, saying he feels left out, but when Akane apologizes, he quickly stops her. He says he was not trying to make her apologize. Instead, he tells her that there is something she needs to do first.

That “something” turns out to be a celebration. Maikeru, Akane, Hikaru, and the others gather around a table with food and drinks, loudly toasting Akane’s victory. The mood shifts from the heavy confrontation with Issho to a warm celebration at Shiguma’s home, though Akane is so worn down that she awkwardly responds when they congratulate her for winning the Karaku Cup.

The celebration for Akane’s Karaku Cup victory begins in full, but Akane is still unsure whether this is really what they should be doing. Maikeru answers that of course they should celebrate. Even if it was “just” a student competition, Akane was ordered to win it with “Jugemu,” and that alone made it a difficult task. On top of that, both Master Issho and Master Ikken were among the judges, so Maikeru says Akane did fantastically against all the odds.

Akane tries to object because Maikeru did not actually do anything, but the others quickly understand that Maikeru mostly wants an excuse to drink. The mood becomes playful, and Koguma is teased because his name sounds like “bear cub.” Maikeru and the others jokingly call him “Teddy Bear” or suggest “Gumaguma,” while Koguma snaps back and tells them to just call him by his actual name.

Hikaru also feels awkward about being present, since she was Akane’s rival in the competition and was only invited along because Shiguma wanted to meet her. Maikeru smooths over the awkwardness by saying it is an honor to spend time with such a lovely lady, but his flirting immediately earns disapproval from Akane, who reminds him that Hikaru is her teacher. Even so, the atmosphere remains light rather than tense.

Kyoji then arrives with food from Izakaya Umi. He congratulates Akane and tells her that the boss at Umi was very proud of her, even sending a congratulatory message with the food. Kyoji notices that Akane may not be in the mood to celebrate after whatever happened at the competition, but he tells her that people have gathered specifically to celebrate her success, and there is nothing better than that. He suggests that, if there is ever a time to forget her troubles for a little while, it should be now.

However, Kyoji immediately undercuts his own calm image. He says he was thirsty, takes a drink, and collapses almost instantly. Everyone panics, and Akane asks what he was given, only for the others to explain that it was just a screwdriver. Kyoji apparently cannot handle alcohol at all; after one drink, he is already drunk.

Once drunk, Kyoji becomes loud and energetic. He declares that it is time to dance and tries to get everyone to do the kappore folk dance, explaining that it is one of the dances performed at celebrations. Maikeru even offers to play the shamisen, while Akane and the others are left bewildered by how quickly the victory party has turned chaotic.

Kyoji’s drunken attempt to start a kappore dance is suddenly interrupted when Shiguma returns home. The room freezes as he enters, and Kyoji continues shouting “Kappore! Kappore!” in the middle of the chaotic party. Shiguma looks over the mess and sternly asks what disgraceful state they have gotten themselves into.

At first, it seems like Shiguma is angry because they are drinking, dancing, and acting rowdy in his house. But his real complaint is different. He says that if they are going to dance, they should put their entire souls into it, and he refuses to allow any half-hearted nonsense. Akane is stunned when she realizes that this is what he is actually angry about.

Maikeru agrees with Shiguma and turns the moment into a lesson for Akane. He tells her that if she wants to be an entertainer, she has to put everything she has into enjoying herself and giving enjoyment to others. He then asks whether she knows how to play any instruments or perform any dances, and Akane awkwardly admits that she does not.

Maikeru explains that rakugo is not such a simple discipline that someone can become a master just by practicing how to speak. Singing, dancing, music, acrobatics, and other performance arts all matter. Being broadly skilled in the arts will take a rakugoka far, and that is exactly why the world of rakugo is so demanding.

The party then turns into a full celebration, with Shiguma joining the others in the kappore dance instead of shutting it down. The earlier chaos becomes part of the lesson: rakugo is connected to a wider world of performance, joy, rhythm, and artistic expression. As everyone dances together, the chapter frames that demanding breadth as what makes rakugo such a wonderful world.

After the celebration winds down, the others leave Shiguma’s home, still visibly affected by the drinking and partying. Akane remains behind, and Shiguma notices her. He calmly says that he heard she won the Karaku Cup and congratulates her. The mood shifts from noisy celebration back to something quieter and more serious.

Akane then tells Shiguma what happened after the competition: Issho Arakawa told her the reason he expelled her father. Shiguma listens, understands the weight of what she is saying, and invites her to sit down. The chapter ends with Shiguma telling Akane, “Let’s have a chat,” setting up a deeper conversation about Issho, Shinta, and the path Akane has chosen.

 

[Daniel]

Chapter 30
After the celebration, Akane and Shiguma sit down privately to talk. Akane begins by asking whether Shiguma knows why Issho expelled her father from the Arakawa school. Shiguma answers that he does not. He says Issho has always been stubborn, selfish, and uninterested in other people’s feelings, but he also admits that Issho has always been honest when it comes to rakugo.

Shiguma explains that, even if Issho had his reasons, he still does not accept the proclamation Issho made that day. Being expelled by one’s master generally means the end of a rakugoka’s career, which makes Issho’s decision an extremely severe judgment. However, Shiguma also says that expulsion does not have to be the absolute end. There have been people who were kicked out of one school, welcomed into another, and eventually became shin’uchi elsewhere.

This means Shinta had the option of continuing rakugo after the expulsion. Shiguma reveals that there were many rakugo masters who would have gladly accepted Shinta if he had chosen to join them. In other words, Shinta’s career did not have to end purely because Issho rejected him. He could have entered another school and kept walking the path of a rakugoka.

But Shiguma says Shinta made his own choice. In the flashback, Shiguma tells Shinta that the situation cannot be overturned, but that he can still continue rakugo elsewhere. Shinta refuses, telling Shiguma to spare him those hurtful comments. His reaction shows that the issue was not simply whether he could keep performing rakugo in a technical sense. For Shinta, leaving Shiguma’s school meant losing something more personal and foundational.

Shiguma then explains that the relationship between master and apprentice is like that of parent and child. Shinta says that, before being a rakugoka, what he truly wished for was to be the apprentice of Shiguma Arakawa. He apologizes for being unable to live up to Shiguma’s standards, making it clear that his decision to stop was tied to his bond with Shiguma and his sense of failure toward him.

Akane struggles to understand this. From her point of view, if her father still had a way to continue rakugo, then he should have taken it, even if it meant joining another school. The conversation reframes Shinta’s end not only as something Issho caused, but also as a choice Shinta made because being Shiguma’s apprentice mattered to him so deeply.

Akane tells Shiguma that, before she began training as his apprentice, she might have agreed that her father should have continued rakugo at another school. But now, after becoming Shiguma’s apprentice herself, she thinks she is beginning to understand how Shinta felt. For Shinta, continuing rakugo was not separate from being Shiguma’s apprentice; that bond was part of the art itself.

Akane says she is glad she could hear this from Shiguma directly, because Shinta’s choice sounds like the father she knew. She always understood that her father deeply revered Shiguma. In a memory, Shinta is shown writing goals like “make my master proud” and “take on rakugo,” showing how strongly his ambition was tied to honoring Shiguma.

Akane then sums up what her father wanted to do: he wanted to carry on Shiguma’s art. The idea lands heavily on Shiguma, because Shinta’s decision was not simple defeatism. It came from devotion to a specific master, a specific style, and a specific rakugo path that he felt he had failed to uphold.

Akane also remembers that her father had many books about Shiguma at home. Because of that, she says she could always tell how much Shinta revered Shiguma’s rakugo. Rather than making Akane hesitate, this realization strengthens her resolve. She tells Shiguma that understanding her father’s feelings only makes her more determined.

Akane then formally asks Shiguma to continue offering her his guidance and leadership. Shiguma accepts, but immediately warns her that she still has a long way to go before reaching shin’uchi. Akane answers brightly that this is fine, and Shiguma challenges her with a confident “Bring it on!” The exchange closes this section on a renewed master-apprentice commitment: Akane understands her father’s devotion more clearly now, but instead of being weighed down by it, she chooses to keep advancing under Shiguma herself.

After renewing her resolve with Shiguma, Akane returns to school. Iwashimizu asks whether she won the Karaku Cup after all, and Akane answers that she did. Instead of being shocked, Iwashimizu says he had already assumed she would win. Akane’s friends react as though he could at least be more openly impressed, but Iwashimizu explains that winning was not the part he was most worried about.

What concerned him more was what Akane might do after winning. Since Issho was present, Iwashimizu had imagined Akane snapping at the “old man” after the competition and causing some kind of scandal. Akane is offended that he thinks so little of her, but Iwashimizu points out that, after what Issho did to her father, it would be understandable for her to want to lash out.

Akane admits that part of her may feel that way, but she also says that revenge would not solve anything. Her conclusion after speaking with Issho is that there is no point unless she uses rakugo itself to convince him that he was wrong. This shows how much her goal has matured: she is no longer thinking only as Shinta’s daughter who wants answers, but as a performer who wants to prove her answer through the art.

Iwashimizu notices that change and laughs. When Akane asks what he is laughing about, he says it is nothing, then tells her that she has definitely turned from a rakugoka’s daughter into a rakugoka. He then says he has to go and tells Akane to report her victory to the principal, making the Karaku Cup win something her school will officially recognize as well.

The chapter then briefly shifts to the school’s judo dojo. A student named Ozaki asks to take part in university practice, even though the high school championships have only just ended. The coach reacts with surprise, but Ozaki explains that he failed to get past the quarter-finals and still does not want to come up short. His determination parallels Akane’s own mindset: even after an important event ends, the next step is more training, not satisfaction.

The coach accepts Ozaki’s attitude and agrees to put in a word for him. At the same time, he warns Ozaki not to let the extra training interfere with studying for exams. Ozaki thanks him and says he will do his best, showing another student choosing to push forward after falling short.

The focus returns to Akane when her friends Risa and Yuka find her and urgently show her something online. A post from Monthly Rakugo has gone viral, calling Akane “the genius teenage girl rakugoka” who impressed Issho Arakawa, described as the greatest rakugoka of his generation, at the Karaku Cup student rakugo competition. The post includes an image from her performance and has already drawn major attention, with hundreds of thousands of views and thousands of reactions.

The chapter ends with Akane staring at the post in shock and blurting out, “What the heck?” After everything she went through at the Karaku Cup, her victory is no longer just a private milestone between her, Shiguma, and Issho. Her name is now spreading publicly as a teenage rakugoka who impressed Issho, setting up a new stage where Akane will have to deal with attention from the wider rakugo world.

Chapter 31
The chapter opens by showing the Monthly Rakugo article about Akane’s Karaku Cup victory. The article presents her as a brilliant young rakugoka whose “Jugemu” won the 20th Karaku Cup and even impressed Issho Arakawa. The online reaction is huge, with hundreds of thousands of views and many reposts, which shows that Akane’s win has started drawing public attention beyond the competition itself.

Ryū’un Kenputei reacts cynically to the hype, saying that people are getting worked up over “some amateur little girl.” However, when Shiguma appears, Ryū’un immediately softens his tone and says he does not mean it as an insult. He then points out that Akane is Shiguma’s apprentice and says her narrative style is exactly like Shiguma’s, or at least resembles his more than anyone else’s. Shiguma recognizes that the conversation may not really be about Akane alone and asks whether this is about Arakawa again.

The scene then shifts to other rakugo figures discussing the broader tension around Issho and the Arakawa school. Shōmei Tsubakiya says that bold moves are fine, but Issho acting as though he alone carries the future of rakugo creates resentment. He also points to the school’s unusual promotion standards, especially promoting someone like Kaisei to futatsume in only his second year.

Chōchō Konjakutei adds that the more Kaisei stands out, the more other rakugoka suffer by comparison. He admits Issho is a sore spot, but also says Kaisei’s promotion ultimately worked because Kaisei is young, talented, and attracts attention. The problem is that such an early promotion could create a bad precedent, so many people in the rakugo world are still upset about it.

The Federation discussion continues with Urara Ransaika. She says there is nothing more upsetting than seeing others receive preferential treatment, making it clear that much of the frustration toward Arakawa comes from resentment over unequal treatment and special exceptions. She also says Issho’s boldness is simply a manifestation of his power, suggesting that he can act this way because his influence is strong enough to support it.

Enso Sanmeitei then comments that Issho is not the kind of person who ignores rules because he lacks willpower. Before the discussion can continue escalating, the meeting is called back to order, and Shōmei is allowed to speak.

The important point comes when Shōmei reminds everyone that the Rakugo Federation exists in order to build up the world of rakugo. This reframes the argument: the issue is not supposed to be personal frustration with Arakawa, but whether their decisions actually help rakugo as a whole. Miroku Kashiwya then steps in more calmly, saying he understands how everyone feels but thinks they may be getting carried away over Arakawa.

The scene then shifts back to Akane visiting Kyoji. Kyoji apologizes for what happened during the celebration, saying he set a terrible example as her older brother apprentice. Akane tells him it is fine and says the experience actually helped her realize what she is lacking. She then directly asks him to teach her how to play instruments and dance.

Kyoji reacts with a blank stare because Koguma and Guriko had already predicted this exact situation. They had told him that Akane would come asking to learn instruments and dance. Kyoji says he likes her enthusiasm, but he warns her not to get too carried away.

Kyoji begins Akane’s instrument training with the taiko drum. He introduces the ichiban-daiko, the drum played when the performance venue opens its doors. He explains that playing it is part of the zenza’s job, and that the sound is meant to “drum up” interest in the show before the actual rakugo begins. Akane takes the drumsticks and starts practicing seriously.

While she practices, Kyoji asks how she is handling the Karaku Cup article. Akane says the article has been causing a stir, and Kyoji jokes about whether she can even get internet on her old flip phone. Akane admits that after the banner at school and all the classmates coming up to talk to her, she has become something like a mini-celebrity.

Even so, Akane does not seem satisfied. She says she is happy that people are happy for her, but she does not know how she feels about it. The main reason is that, despite winning, she does not think she actually impressed Issho. Kyoji notices that she is still grounded and not letting the attention go to her head.

Kyoji then thinks back to something Hakushu Kashiwaya said. According to him, many rakugoka secretly dislike Arakawa because of Issho’s statements and attitude. The Karaku Cup article has intensified that talk, and people at Kashiwaya are even wondering whether Issho used the event to create “a second Kaisei Arakawa.”

Kyoji realizes that all the negative emotion built up toward Issho might end up being directed at Akane instead, because she is a much easier target. He had been ready to correct her if her success went to her head, but since she is still focused on what she failed to accomplish, he decides he does not need to worry about that. Instead, he thinks that Akane’s zenza training itself may become difficult.

Kyoji watches Akane continue practicing the drum and thinks that his younger apprentice can handle the pressure surrounding her. Akane keeps repeating the rhythm, and the page visually connects her drumming to the atmosphere of an actual rakugo venue, with the sound building anticipation among the audience.

The scene then shifts to Yasaka-tei, a rakugo theater. The chapter jumps ahead eight months later, showing Akane arriving there with Kyoji. This marks a major transition from practice to a more formal stage of training.

Kyoji tells Akane that he is only repeating what he was told, but what she is about to learn is “the history of rakugo itself.” This makes the next stage of her training feel much larger than just learning chores or performance support; she is about to begin learning the foundation and tradition behind the rakugo world.

The final page announces that Akane’s zenza training begins. Akane responds confidently with “Bring it on!!”, showing that she is ready to face this new phase head-on.

Chapter 32
The chapter opens at Yasaka-tei, where Akane is already doing backstage chores as a new zenza. She cleans the building, wrings out cloths, takes out the trash, and is addressed as the “new zenza,” showing that her training has moved from preparation into actual venue work.

Guriko arrives and greets her, noting that he heard she is starting that day. Akane confirms it and says this is her first day backstage. She is excited because her performance training is finally about to begin, but Kyoji clarifies that this also means her zenza training is starting in earnest.

Kyoji then explains the Arakawa school’s requirements for promotion to futatsume. To rise from zenza, Akane must complete several conditions: 50 rakugo performances, kodan historical stories, music and dance, and taiko drums. This shows that promotion is not only about performing rakugo stories; she also has to learn the wider traditional skills connected to the rakugo world.

Akane remembers that Kaisei reached futatsume in only two years, which motivates her. She confidently tells Kyoji that she will catch up to him soon, but Kyoji immediately snaps back that she will not do that in a hundred years. Their usual older-and-younger apprentice dynamic continues, but the scene also reminds us how exceptional Kaisei’s speed was.

After Kyoji is called back to work, Akane remembers another instruction about her first time working at a performance. Even though she will be helping there, a trainee cannot enter the performance without an invitation the first time. She has been given a phone number and told to contact another zenza who will be working alongside her. Akane is surprised by this, realizing that her first backstage experience will involve coordinating with another trainee.

Akane contacts the other zenza she was told about, and it turns out to be Karashi from the Karaku Cup. She recognizes him immediately and calls him by his old name, Karashi Nerimaya, but he corrects her. He explains that when a rakugoka joins a school, they take on that school’s title as an honorary name, such as Arakawa, Tsubakiya, Konjakutei, Kenputei, or Kashiwaya. Since he has become Enso Sanmeitei’s apprentice, his name is now Karashi Sanmeitei.

Karashi then tries to establish seniority over Akane. He says he became an apprentice two months before her, has already worked backstage for a month, and is older than her, so he is her senior in every possible way. He stresses that the rakugo world runs on seniority and tells Akane to speak to him respectfully. Akane awkwardly tries to respond with respect, but the tone stays comedic because Karashi is clearly overdoing it.

Akane is mostly relieved because she knows at least one person at this new workplace. Karashi gets irritated and insists that she should recognize him properly, but Akane sincerely says she is looking forward to working with him. This catches him off guard, and he reluctantly accepts it while still wondering whether she is really showing him enough respect.

Karashi then asks whether Akane knows what kind of place Yasaka-tei is. He explains that there are four places in Tokyo where people can see rakugo performed almost any day of the week, either during the day or at night: Ueno, Asakusa, Shinjuku, and Ikebukuro. These are joseki entertainment halls, and Yasaka-tei is one of them.

The important reveal is that Yasaka-tei Performance Hall is not just an ordinary venue. Karashi explains that it was built during the early Shōwa era, around the 1920s or 1930s, and is recognized as an official cultural property. Akane is amazed by the building and says it feels like she has been transported to another time. Karashi says there is a reason for that and begins repeating something his master told him.

Inside, Karashi explains the deeper significance of the venue. He says that the giants and greats of the past developed their skills on this very stage, and that the place is packed with the blood, sweat, and tears of rakugoka. This frames Yasaka-tei as a living piece of rakugo history, not merely a workplace. Akane stares at the stage in awe, but Karashi pulls her back to reality and shows her the backstage area, telling her to put her belongings behind the kimono rack.

After Karashi tells Akane to put her belongings behind the kimono rack, Akane opens the storage area and accidentally discovers someone sleeping there. The person wakes up with a loud yawn, startling Akane badly, and she quickly apologizes for surprising him.

The sleeping zenza introduces himself as Un’un Kenputei and casually says he was only taking a little nap. Karashi immediately grabs or pinches him and scolds him for slacking off, especially because Un’un is supposed to be the tate-zenza, meaning the leader of all the zenza working backstage.

Another zenza, Asagao Konjakutei, steps in and tells Karashi not to underestimate him. He then notices Akane and asks who she is. Akane remembers the rule that in rakugo, the junior person greets first, so she straightens up and prepares to introduce herself properly.

Akane introduces herself as Akane Arakawa and bows politely, saying it is an honor to meet them. Asagao says he already knows about her because she caused a big stir the previous summer, referring to the attention she received after the Karaku Cup.

Asagao then frames Akane in a hostile way, calling her the teenage girl rakugoka that Master Issho is supposedly trying to promote. He makes it clear that her amateur accomplishments will not earn her special treatment in the rakugo world. Once she joins, she is simply a zenza like everyone else.

Asagao asserts his authority as the tate-zenza, saying that he makes the rules there. He tells Akane to stay in line and know her place, addressing her sharply as “Little Miss Arakawa.” This establishes that Akane’s zenza training will not just be about learning backstage work; she will also have to deal with resentment and hierarchy from other apprentices.

Chapter 33
The chapter opens with narration explaining what a joseki is. Yasaka-tei is an entertainment hall that offers rakugo performances 365 days a year, both day and night. It does not only feature rakugo, either; audiences can also see other acts such as paper theater and manzai comedy. More than ten groups of performers appear there to entertain the audience, making the venue feel like a constant gathering place for traditional and popular performance arts.

The chapter describes Yasaka-tei as “a festival of the arts.” The image of a performer greeting the audience from the stage emphasizes that this is not just a quiet historical venue, but a lively space where many different performers keep the atmosphere active and entertaining.

The narration then explains that all kinds of people sit before the same microphone at Yasaka-tei. Some are complete newcomers who have not even practiced their art for a full year, while others are veterans with more than half a century of experience. This makes the venue both the home turf of rakugoka and a place where younger performers can learn by being near their seniors.

Backstage, Akane feels the pressure of that environment immediately. The dressing room is packed with performers, and the narration calls Yasaka-tei “a place of learning.” Akane senses how tense the room is because the people gathered there are not ordinary coworkers; they are active performers who live in the world she is trying to enter.

Akane notices that the performers in the room are all shin’uchi, including people she recognizes from television. She realizes that some of them have been doing rakugo longer than she has been alive, and that they are professionals who make their living entirely through talking. More and more exalted performers continue entering the room, making the backstage atmosphere even more intimidating for her.

Akane continues feeling overwhelmed as more senior performers enter the backstage room. She tries not to stare, but Asagao notices and tells her to stop gawking at every person who walks through the door. He explains that in a joseki, performers are constantly coming and going while the show continues, so a zenza cannot freeze up every time someone important appears.

Akane is then ordered to handle stage preparation, including flipping the cushion. At first this sounds like a simple task, but she quickly learns that even something as basic as placing the cushion has exact expectations. A senior performer asks her to set it 80 centimeters from the microphone, making Akane realize that backstage work is filled with precise, unspoken rules.

Kyoji’s preparation helps her survive the situation. Akane remembers his “personal zenza manual,” which includes details about each performer’s preferences. For example, some items must be folded in threes, and Master Baba’s tea should simply be plain lukewarm water. These details show that zenza work is not just cleaning or carrying things; it requires careful observation and knowledge of each performer’s habits.

Akane connects this to the idea of kibataraki. Just like she learned before, she has to understand what others need before they ask and make everything run smoothly for them. The backstage role is another form of service, but now the people she is serving are professional performers preparing to go onstage.

However, the workload keeps piling up. Asagao snaps at her and tells her she does not have time to rest because there is still a lot of work to do. Akane has to help with more preparation, including setting up for the manzai comedy group and seeing off masters after their performances.

By the end of this batch, Akane is already exhausted. She knew zenza training would be difficult, but she is starting to understand how relentless the work really is. The chapter emphasizes that Yasaka-tei is not only a place where rakugo is performed; it is also a demanding training ground where Akane has to learn the traditions, rules, and expectations of the rakugo world through constant backstage labor.

After the daytime shift, Akane finally gets a moment to sit down and immediately slumps from exhaustion. She realizes that she somehow made it through the whole shift, but only because Kyoji prepared her so carefully in advance. Without his guidance, the constant backstage demands, personal rules, and pressure from senior performers could have caused much bigger problems for her.

Asagao then approaches and tells Akane that she really does not mess up much. Akane initially takes this as an insult, but Asagao bluntly clarifies that he meant it as a compliment. He says he had been watching her all day to see whether she would screw anything up, yet there were no major disasters. Considering how difficult her first day was, he admits that it was actually a very good first day overall.

Akane explains that her older brother apprentice prepared her for what to do. Asagao accepts that Kyoji’s training helped, but he also apologizes for his earlier attitude toward her. However, his apology is strange and backhanded. Instead of simply saying he underestimated her, he says that he “thought a bit too highly” of her, implying that he had expected someone connected to Issho’s attention and the Karaku Cup hype to be more arrogant or disruptive.

Asagao then tells her to keep working like a “good little worker,” because it will help him and everyone else. Akane is left confused by his wording, wondering whether he meant to compliment her or insult her. Still, she goes back to work and continues folding kimono, reminding herself that she knows how to fold a clean, crisp one.

While she is folding, Akane hears a performer onstage get a strong laugh from the audience. She notices the reaction and understands that the performer’s small adjustment landed well with the crowd. Karashi then comments that this is another way to add a “wrinkle” to a performance in order to create laughs. This gives Akane a live example of how rakugoka refine their storytelling through small details, timing, and variations rather than relying only on the basic structure of a story.

Akane also sees how the backstage environment creates opportunities through attentiveness. A senior master calls out asking whether anyone has a cigarette, and a zenza immediately provides one, saying he made sure to bring some. The master praises him for being thoughtful. This reinforces the idea that zenza work is not just about being ordered around; it is about anticipating what senior performers need and proving that one can be useful without being told every little thing.

Another moment shows a performer asking a senior master to open for his upcoming solo performance. The master accepts, and Akane begins to understand how much is happening around her outside the visible stage work. Yasaka-tei is not only a place where people perform; it is also a place where performers exchange advice, build relationships, create opportunities, and learn by observing each other.

This realization changes Akane’s view of her chores. She understands that Yasaka-tei is full of life lessons and opportunities for a rakugoka, but many of them exist outside the formal duties of her job. If she treats the work as nothing but cleaning, folding, carrying, and waiting on seniors, then it will only be grunt work. To grow, she has to actively observe, listen, and make the most of everything happening around her.

At the end of the chapter, Asagao privately reflects on Akane. He admits that he had not known what to expect because of the rumors that Master Issho was trying to promote her. After watching her work, he sees that she is diligent and behaves like a “good little girl,” but he is not fully convinced that this is all there is to her. He says he does not know her well yet, but he doubts she will keep playing the “good little girl” for long.

 

[Daniel]

Chapter 34
After the day’s duties are finally finished, Asagao announces that everything for their first day is complete. He praises the group for working hard on such a busy day, and Un’un and Akane look relieved at first. However, Asagao immediately undercuts the praise by saying there is one exception.

The exception is Un’un. Asagao angrily scolds him for making so many mistakes and causing repeated trouble throughout the day. While this happens, Akane reflects on her own problem: if she tries to pay attention to all the learning opportunities around her, she starts making mistakes in her basic tasks. But if she only focuses on the basic chores, she misses the valuable lessons happening around her. She wonders what she is supposed to do.

Asagao then explains the plan going forward. Karashi will receive tomorrow’s first performance slot, while Un’un is warned not to slack off just because he is not going onstage. When Akane seems confused about why Asagao gets to decide this, he explains that the tate-zenza is the person who decides who performs the first opening act of the day. Since Asagao is the tate-zenza, that authority belongs to him.

He lays out the stakes clearly: if he feels a zenza has done work deserving of a reward, he will give that person a slot onstage. However, the performance program changes only once every ten days. That means if Asagao does not see improvement in someone’s work, that person may go ten full days without performing rakugo at all.

This creates a new pressure for Akane. Her zenza work is not separate from her performance growth; it directly affects whether she even gets chances to perform. She now has to find a way to handle the exhausting backstage duties properly while still observing, learning, and improving as a rakugoka.

Akane reacts to Asagao’s system for assigning stage time, clearly thinking it is unfair that backstage work can determine whether someone gets to perform. She asks Karashi whether the situation is messed up, but Karashi says he does not know and that the system has worked out for him so far. When Akane gets annoyed and asks how he is already so good at the job despite only being there a month longer than her, Karashi says the basic work is not that hard once someone has done it once. The part that actually took him time to learn was something called background listening.

Karashi explains that background listening means continuing to pay attention to the stage even while working backstage or having a conversation. A zenza cannot focus only on the task directly in front of them, because the performance is always happening nearby and contains things they are supposed to learn from. Karashi compares it to listening to a lecture while playing games, which makes it sound simple enough in theory, but Akane quickly realizes that doing it properly while handling real backstage work is another matter.

Karashi then asks Akane why she became a rakugoka in the first place. Akane does not answer and says she does not have to tell him. Karashi does not push for her reason, but he makes the situation clear: while Akane struggles and fumbles around backstage, he will be getting more professional experience in front of audiences. His point is harsh, but it connects directly to Asagao’s system. The zenza who handle the work well are the ones who receive chances to perform.

Akane starts to accept that Karashi is right. She reminds herself that she is a professional now, and if she cannot handle this, she obviously will not be able to move forward. Instead of treating the rule as unfair, she frames it as something she has to overcome. She focuses on the idea of background listening and decides to try it seriously.

Back at Yasaka-tei, Akane puts the idea into practice. When she is told to get tea for Master Senba, she prepares it while keeping her ears focused on the stage. She listens to the ongoing performance and tries to divide her attention between her chores and the rakugo. However, she becomes so focused on listening that she stops moving properly. Someone notices and asks why she is staring into space, then snaps at her to move her hands and do something.

The batch shows Akane running into the next major difficulty of zenza work. It is not enough to simply do chores correctly, and it is not enough to observe the stage carefully either. She has to learn how to do both at the same time: keep the backstage work flowing while still absorbing lessons from the performances happening around her.

Akane continues struggling through the zenza work, but the chapter shows that she is learning from each mistake instead of simply getting discouraged. She is corrected for making noise backstage because even footsteps can be heard by the audience, and she also learns that tea leaves need to be changed regularly because some performers get angry if the same leaves are reused too many times. The point is that there are no shortcuts: every day teaches her small rules, and she has to accumulate that practical knowledge little by little.

Even after being scolded repeatedly, Akane refuses to give up before she has even gotten past the backstage chore stage. When she hears that the cushion needs to be flipped, she immediately offers to do it. Then, when Un’un starts asking her for another task, she anticipates what he is going to say and prepares the tea for Rien ani-san before he finishes onstage. This shows that Akane is beginning to move from simply reacting to orders toward predicting what needs to be done next.

Un’un notices this and wonders whether Akane is really starting to get into the rhythm of the work or whether she is just getting lucky. Asagao is less generous and assumes she will probably mess up again because she is still spacing out at times. However, Akane calmly asks for a moment, showing that she has noticed something specific rather than simply drifting off.

Akane’s observation turns out to be important. Asagao has been scolding her for nearly ten minutes about not using fresh tea leaves, but Karashi points out that she actually did change them. Akane’s action catches Asagao’s attention, and he realizes she has done at least that part correctly. Even though Asagao is harsh and seems to enjoy tearing into new zenza, this makes it harder for him to dismiss her completely.

Asagao keeps correcting Akane as she struggles to balance backstage work with listening to the performances. He tells her there are no shortcuts and that she must learn things every single day. He warns her not to stomp around because the audience can hear backstage noise, and he also tells her to change the tea leaves regularly because some performers get angry if the same leaves are reused too often. Akane understands that these small corrections are part of accumulating practical knowledge through daily work.

Akane refuses to give up before even getting past the backstage chore stage. When Asagao starts to call for someone to flip the cushion, Akane immediately moves to do it herself, showing that she is beginning to anticipate what needs to be done instead of waiting for direct orders. When someone asks her to prepare tea for Rien ani-san after he finishes onstage, she says it is already brewing, showing another moment where she has started thinking ahead.

Un’un watches Akane and wonders whether she is truly getting into the swing of things or whether she is just getting lucky. Asagao remains skeptical and assumes she will mess up again soon. However, Akane then asks for a moment with a senior performer, catching Asagao’s attention.

The reason becomes clear: Akane has noticed that the senior performer has been scolding her for nearly ten minutes about not using fresh tea leaves. But Karashi points out that Akane actually did change the leaves. This means Akane has not simply been standing around blankly; she has been paying enough attention to realize that Asagao is continuing to criticize her even after she already fixed the issue. Asagao understands that Akane has managed to get the senior performer’s attention and realizes he cannot keep tearing into her without a valid reason.

The senior performer is introduced as Rien Konjakuan, who is known as “the Rookie Crusher.” Rien teases Akane, saying that since she is a futatsume, maybe she only deserves rebrewed tea. He also brings up her reputation as the amateur student champion, saying she must be used to praise from old masters who enjoy doting on talented young people. However, he frames this as a warning: the rakugo world is not easy to get by with amateur-level accomplishments.

Because Akane exposed the situation properly, Asagao is forced to bow and apologize. He admits that, as the tate-zenza, he is responsible when Akane makes mistakes. Rien observes that everything makes sense now and says it is no wonder the zenza here cannot do anything right if Asagao is the one leading them. The scene turns Asagao’s authority back on him, while also showing that Akane is starting to adapt to the backstage environment by using observation, timing, and awareness rather than just obediently taking criticism.

Rien leaves after turning the situation back on Asagao. He calls Asagao a pathetic mess and brings up their history, saying that Asagao might have reached futatsume before him if he had not hit Rien for making fun of his master. The comment shows that Asagao’s anger toward Rien is not random; there is an old grudge between them, and it is connected to Asagao defending his own master. Rien then notices the look in Akane’s eyes before leaving.

Before going, Rien reminds Akane of the hierarchy between them. He says he is a futatsume, the rank above zenza, and tells her to remember her place. Afterward, Karashi tells Akane not to take Rien’s insults personally, explaining that Rien was mainly doing it to get back at Asagao. Akane, however, says the encounter was still useful because she got the chance to listen to a lot of Rien’s rakugo.

Karashi realizes Akane was not just standing there passively. She says she was paying attention to Rien’s insults, but she was also practicing background listening at the same time. Karashi is surprised that she was not angrier, especially because he thinks anyone would be furious if the person tutoring them were insulted. This connects back to Asagao’s past: he had once lost control because Rien mocked the master he owed so much to.

The discussion then shifts to stage time. Akane realizes that a zenza’s only chance to appear during a performance is the opening slot, and that Rien’s performance tomorrow is scheduled right after the opener. Karashi asks whether Akane dislikes listening to Rien’s insults too and whether she thinks she can show him up. Akane answers immediately and confidently: of course she can.

Asagao reacts to her confidence by calling her cocky, but he accepts the challenge. He assigns Akane to perform first tomorrow, giving her the opening slot before Rien. He tells her to come out swinging hard, and Akane answers with full determination. The batch ends with Akane receiving her first real chance to perform at Yasaka-tei, but under a lot of pressure because she will be going on immediately before the very futatsume who mocked her and Asagao.

Chapter 35
This chapter begins at Yasaka-tei with Rokuro ani-san appearing backstage. Someone is surprised to see him because he is not scheduled to perform that day, but Rokuro explains that he only came to pick up his kimono. He then notices that the day’s opening act is about to begin.

Backstage, Akane is preparing for her performance. Since she has been assigned the opening slot before Rien, the others realize that she is the one going on first. Someone asks whether they are worried about her, and the answer is “kinda,” but then the page clarifies that the worry is for the opposite reason. Rather than simply fearing that Akane will fail, there is a sense that she may be more capable or more dangerous than expected.

Akane takes the stage as the opener, sitting alone before the microphone. From her view, the audience does not look especially interested. She understands why: the audience did not come to see her. Zenza performances are not included in the ticket price, and zenza are not listed on the marquee. The actual night schedule features names like Takako Tsubakiya, Sanshu Kashiwaya, and Rien Konjakuan, so Akane accepts that she is starting from a position where the crowd has little reason to care about her.

Instead of being discouraged, Akane calmly begins her opening. She talks about taikomochi, also called male geisha, explaining that they made a living by flattering and entertaining wealthy patrons. Their work required great care because a single wrong word or careless comment could cost them their income. From there, she introduces the central rule that taikomochi lived by: the customer is always right.

Akane begins the actual rakugo story by shifting into the role of Ippachi the taikomochi. Ippachi cheerfully spots a young master he has not seen in a long time and immediately starts flattering him, saying he has missed him and asking where he is going that day. This fits the setup Akane gave earlier about taikomochi needing to stay agreeable and keep patrons pleased.

The young patron answers that he is going to pay his respects at the Kannon temple in Asakusa. Ippachi praises him, saying that it is admirable for someone his age to be so devoted. However, he then corrects the phrasing, explaining that the proper name is Kinryū-zan Sensō-ji. Karashi observes Akane’s performance from the side and notes that she has a good, comfortable tempo and that the story feels pleasant to listen to.

Akane then explains the basis of the story’s wordplay. The rakugo is “Sango-Jigo,” and it centers on naming conventions for Buddhist temples. Ippachi explains that temples have official names made from two parts: a mountain name, or sangō, and a temple name, or jigō. Using examples, he points out names like Hiei-zan Enryaku-ji and Narita-san Shinshō-ji, showing that each full temple name contains both a “-san/-zan” part and a “-ji” part.

Ippachi explains that Kinryū-zan Sensō-ji is the proper name for the Kannon temple in Asakusa. He also says that these sangō-jigō names can be found everywhere, no matter where one goes. The young patron accepts the explanation at first, but his attention catches on Ippachi’s broad wording.

The patron then asks about Kuromon, a neighborhood in Shitaya. He wants to know whether there is a sangō-jigō there too. Ippachi quickly says that this is not how it works, because he is talking about temple names, and there are no temples in Kuromon. However, the young patron reminds him that Ippachi said these names could be found everywhere, creating the first clear trap in their conversation.

The young patron continues pressing Ippachi after catching him in his earlier exaggeration. Since Ippachi said that sango-jigo can be found anywhere, the patron tells him that an entertainer should not back down once he has been given a prompt. He even offers to pay Ippachi 100 yen for every answer he can come up with. Akane shows Ippachi thinking desperately, because the rule of the taikomochi is still that “the customer is always right.” If Ippachi cannot satisfy the patron, he risks losing his usefulness. (tsukiread.com)

Ippachi then starts improvising. He spots a rickshaw puller wilting in the summer heat and turns that image into a wordplay answer: “the sea-son of lethar-gy.” This keeps the “san/ji” sound pattern of sango-jigo while moving away from proper temple names into everyday sights. The audience laughs, and the young patron accepts it as fitting the pattern, handing over the 100 yen and asking Ippachi to find another one.

Akane keeps the momentum going by having Ippachi point to a clockmaker. He calls him an “arti-san of chronolo-gy,” then follows up with another clock-related joke about the artisan saying the hour is three. The crowd enjoys the first answer, but then starts pushing back when the pattern becomes too loose. Akane turns the audience’s reaction into part of the rhythm, with people calling out that he should try again and even suggesting other possible jokes, such as one about a physician and an apology.

From there, Akane escalates the absurdity. She uses the green grocer’s wares to make a joke about fruit and vegetables “grown in Australian sunshine,” making the audience wonder how Australian produce has suddenly entered this Edo-style setting. She then throws in another strange line about meeting a large son named Ben-ji, which makes the joke even more ridiculous. The humor comes from how far Ippachi is stretching the original sango-jigo pattern while still trying to satisfy the patron’s demand.

Backstage, the others recognize that Akane has gotten the crowd moving. Someone says that, for a zenza, she has spirit. Rien agrees to a point, but he adds that she is “an Arakawa through and through.” He then brings up what happened the previous day, saying Akane served him terrible tea and did not even replace the leaves. Rien frames this as a weakness in her training, saying that school performances probably do not teach backstage skills and that it is the tate-zenza’s job to teach her those things.

Akane then shifts the story in a way that directly mirrors her own situation. In the rakugo, Ippachi points out a woman at a teahouse being scolded by an angry customer who claims that she served him twice-brewed old tea. However, the woman’s face suggests something else: she actually did give him fresh tea leaves. This is where the performance starts to feel pointed, because it resembles Rien’s accusation toward Akane even though she had changed the tea leaves.

Instead of making the woman apologize, Akane has her snap back. The woman says she has had enough of the customer’s “poison and toxic energy.” Asagao immediately realizes that Akane is talking about the backstage conflict with Rien. In the story, Ippachi notes that instead of apologizing, the woman gave the customer a piece of her mind, setting up another sango-jigo-style punchline.

Akane lands the final punchline with force: “Determination and reason are the pillars of a woman’s strategy!” The audience laughs loudly, and the performance becomes a direct clapback at Rien while still working inside the structure of “Sango-Jigo.” She does not break character or stop the story to argue with him; instead, she turns her frustration into rakugo and makes it entertain the room.

Karashi says he told them he was worried, implying that Akane was not the kind of performer they could safely underestimate. Akane herself says that the performance was refreshing to hear, suggesting she enjoyed getting her answer across through the story. Asagao realizes that because Akane clapped back at Rien this hard, Rien will probably not go easy on her next time. Rien, however, smiles and seems to acknowledge that the performance had value. The chapter ends with Akane having successfully used her opening slot not only to warm up the audience, but also to answer Rien through her art.

Chapter 36
This chapter opens with the title “One Fan’s Worth.” Rien finishes a rakugo performance involving a joke about a newborn child’s age, where one character says that because the child is newborn, it should automatically count as one year old, while the other responds that the baby is so young it has not even been born yet. The audience reaction does not seem especially lively here; the scene mainly shows Rien finishing his act and returning backstage.

Backstage, Un’un attempts to praise Rien for the performance, but before the sentence can fully land, Rien moves toward Akane. His attention is clearly still on what she did in the previous chapter, when she used her opening rakugo to answer his insult through the story. He calls her a real piece of work and says she snapped back at him through her rakugo.

Akane apologizes, but she does not fully back down. She says she simply does not like taking crap without having a chance to fight back. This keeps the confrontation from becoming a normal apology scene: Akane acknowledges that she struck back, but she also makes it clear that she did it because Rien had been unfair to her first.

Rien seems ready to lecture her again. He asks whether she already forgot what he told her the day before, but Akane cuts him off by predicting his usual speech. She guesses that he is about to say something like, “I’m a futatsume, and I’m better than you zenza.” This shows that Akane has already figured out the pattern of his behavior, especially his habit of using rank to talk down to apprentices.

Before Rien can fully respond, another voice interrupts and says Rien has been saying that to all the zenza lately. Rien is surprised because he did not realize Rokuro ani-san was still backstage. Rokuro had only come to pick up his kimono earlier, but he has stayed long enough to witness the confrontation.

Rokuro tells Rien to knock it off. Rien tries to defend himself by saying he is only instructing Akane and guiding her, since she sabotaged his performance before he even went onstage. From Rien’s point of view, Akane’s “Sango-Jigo” was not just a joke at his expense; it was something that affected his ability to perform afterward.

Rokuro does not accept that excuse. He says that if Rien is truly “better” than the zenza, then he should be able to overcome mundane problems like that. In other words, a higher-ranked performer should not need to blame a junior apprentice for his own condition before going onstage.

Rokuro then pushes the point further, asking whether ignoring his own faults and chewing out zenza is really what makes Rien “better” than them. This turns Rien's own rank-based argument against him. If he wants to claim superiority as a futatsume, then he should prove it through composure and ability, not by bullying lower-ranked performers. Rien has no answer and bows his head, apologizing. Akane watches quietly, seeing a senior directly call out Rien’s behavior.

After Rokuro makes Rien apologize, he tells Akane not to mention the incident too much. He admits that Rien has been acting out lately, so he understands why the situation happened. However, Rokuro also warns Akane that what she did during her performance was not something she should repeat. Even if Rien provoked her, throwing stones in a way that neither side can laugh about is simply disrespectful, and it will only create more grudges. In other words, using rakugo to strike back is not automatically wrong, but if the joke only wounds the other person instead of turning the conflict into something everyone can laugh at, then it becomes a waste.

Rokuro then praises Akane directly, telling her that she has a lot of skill. He does not treat her like a helpless beginner, but he also does not let her off the hook. Before leaving, he tells Asagao that he is taking off and leaves him in charge. He also tells Akane that if Rien complains about what happened, she can simply mention Rokuro’s name. Akane thanks him, clearly understanding that he protected her from the situation getting worse.

Once Rokuro is gone, Asagao immediately tells Akane that she went too far. Akane admits that she knows. She also recognizes that if Rokuro had not stepped in, the confrontation with Rien probably would have escalated badly. At the same time, Akane does not fully regret the feeling behind what she did. She admits that her stunt was not completely right, but privately, she says that inside her head, she was pumping her fist the whole time.

Asagao tells Akane that she really owes Rokuro for stepping in. Akane asks whether Rokuro is supposed to be someone special, and Asagao reacts strongly, shocked that she does not know who he is. He explains that Rokuro is not just another futatsume. Despite his accomplishments, Rokuro still cares about the people below him, which makes his intervention even more meaningful.

The final page formally introduces Rokuro’s status. He is Rokuro Kashiwaya, the only apprentice of Miroku Kashiwaya, who is described as the sole “National Treasure” of the current rakugo world. Rokuro himself is called one of the most ascendant futatsume of the moment and is known as “the Wonder Child.” This reveal reframes his casual appearance backstage: the person who just corrected Rien and protected Akane is actually an extremely important rising figure in rakugo.

The chapter briefly reflects on how unusual Akane’s situation has become. Setting aside that the futatsume she got the better of was Rien, the fact remains that she is a zenza who managed to one-up someone above her rank. The page notes that this kind of thing has not happened since Kaisei, which places Akane’s recent behavior in a much larger context than just a small backstage argument. Her clash with Rien has made people start comparing her impact to another exceptional Arakawa talent.

The scene then shifts to Kaisei meeting Master Ransaika, who is waiting for him while drinking. She complains that he kept her waiting for thirty minutes and says she is already on her second bottle. Kaisei apologizes, but the atmosphere is relaxed rather than hostile, showing that the two seem familiar with each other.

Ransaika tells Kaisei that she would rather he call her Urara, because she thinks her inherited professional name is “brutish and ugly.” Kaisei accepts this, and when she asks whether something happened, he says that he has found “quite an amusing new kid.” Given the transition from Akane’s confrontation with Rien, this strongly points to Akane having caught Kaisei’s attention.

The story then returns to Yasaka-tei. It is the last day that this group of zenza will be working together on the same rotation. One of them says they will miss everyone, while Akane tells them not to be so dramatic because they are obviously going to run into each other elsewhere. The tone is lighter here, showing that despite the tension and harshness of the previous days, the group has settled into a working rhythm.

Akane is then reminded that she is the opener for the day. Before going on, she checks the list of stories from the daytime slate. This shows that she is not choosing her performance casually; she has to consider what has already been performed and what kind of flow the overall program has.

Akane reflects that a slate of performers has a proper flow. There are rules for choosing one’s story, because each performer is part of a larger lineup rather than an isolated act. Ideally, the pitch and excitement of the program should rise gradually through the list, reaching its highest point with the headliner. This gives Akane another lesson in professional rakugo: even as the opener, her job is not simply to perform well for herself, but to choose a story that fits her place in the entire show.

Akane continues thinking about how to choose a story for her opening slot. The chapter explains that performers cannot simply repeat whatever another performer has already chosen. If someone has already performed “Jugemu,” then Akane cannot also perform “Jugemu.” Even when the story itself is different, performers also have to avoid choosing the same type of story too closely, because that would disrupt the flow of the overall program.

To manage this, the day’s stories are written down ahead of time in a list called the netacho. This gives each performer a record of what has already been performed, so they know what options are still available. Akane checks the netacho and confirms with Asagao that it would not be acceptable to double up on one of the daytime stories.

Asagao explains why this matters at Yasaka-tei. People who bought tickets for the daytime show can stay in the venue until the nighttime performers begin, so if Akane repeats something from the daytime slate, some audience members would be seeing material they already watched earlier. Akane also asks whether it is wrong to perform the same kind of story as a daytime performer, and Asagao says that is a different matter, but she still needs a buffer.

Asagao gives her a clear guideline: if she cannot fit one fan’s worth of space between two story titles on the netacho, then she cannot perform that story. This rule makes the issue visual and practical. The fan becomes a measuring tool for whether two stories are too close together in the program’s flow.

Akane then realizes that she may not be able to perform at all. She has only five stories in her current repertoire: “Jugemu,” “Praising Children,” “Tenshiki,” “Scared of Manju,” and “Sango-Jigo.” However, all five are blocked by the fan rule because similar or conflicting stories have already appeared too close to her slot on the netacho. In other words, she technically has an opening slot available, but none of her prepared stories are usable.

Asagao is shocked when Akane confirms that she only has five stories. At first, he reasons that this is not surprising because she is still a brand-new zenza. However, he then thinks that for someone as talented as Akane, five stories is far too few. The chapter ends with him wondering what kind of training she has actually been receiving, while Akane faces the problem of having stage time but no suitable story to perform.

 

[Daniel]

Chapter 37
This chapter begins after Akane’s opening slot problem from the previous chapter. The group’s shared work period at Yasaka-tei has ended, and everyone prepares to leave. Akane is still troubled because she was given a chance to perform but could not use it; in the end, Karashi performed the opener in her place. She realizes the core problem plainly: she needs to expand her repertoire.

Asagao notices that Akane is bothered by something and asks whether she has something weighing on her mind. When Akane tries to deny it, he says the answer is written all over her face. He immediately understands the issue and tells her that if she does not know enough stories, then she has to learn more. His advice is blunt, but not entirely harsh, because he also says she has plenty of talent and will probably pick them up quickly if she works at it.

The group then says goodbye after their week working together. Un’un cheerfully tells everyone they did a good job, while Karashi says he will be starting in Ikebukuro the next day. Akane thanks them and says she hopes to see them again, showing that despite the rough start, this group has become part of her first real zenza experience.

With Asagao and Un’un having departed, it is now just between Karashi and Akane. Karashi then asks Akane what stories she knows. Akane lists her current repertoire: “Jugemu,” “Praising Children,” “Tenshiki,” “Scared of Manju,” and “Sango-Jigo.” Karashi iis left stunned by how few stories she has. He says it is no wonder she ran into trouble with the netacho, and he points out that he had even assumed she had used “Jugemu” at the Karaku Cup to make the competition harder for herself, not because her story options were this limited.

Akane then asks what Karashi means. He starts explaining that rakugo stories are divided in two ways: tate, or vertically, and yoko, or laterally. The vertical scale refers to the difficulty of mastering a story. This begins a new lesson for Akane: her problem is not only that she knows too few stories, but that a professional repertoire has structure, levels, and categories she has not properly learned yet.

Karashi explains the vertical side of rakugo story selection, meaning the difficulty level of a story. At the top are ō-neta, the big stories that are long, complex, and usually performed as main-event pieces by shin’uchi. He gives “Shibahama,” the story Hikaru performed at the Karaku Cup, as an example of this kind of advanced story. At the bottom are the easiest stories, called zenza-banashi, which are simple, short, and ideal for learning the basics of rakugo.

This becomes a problem for Akane because almost all of her current stories fall into that lowest category. Her repertoire — “Jugemu,” “Praising Children,” “Tenshiki,” “Scared of Manju,” and “Sango-Jigo” — are basically all zenza-banashi. Karashi says that because Akane is already performing at a fairly high level, people would assume she has learned a lot of skills. However, in reality, she has mostly only learned the “starter abilities.” He admits that the reaction she created with those beginner-level stories is impressive, but her actual range is still narrow.

Akane interprets this as meaning she should immediately learn a bunch of difficult stories, but Karashi shuts that down hard. He tells her that in a full lineup, a zenza can basically only perform zenza-banashi. So the answer is not for her to jump straight into major, difficult pieces. She should not be focusing on the tate, or vertical difficulty scale. Instead, she needs to focus on the yoko, the horizontal spread of story types.

Karashi then explains the idea in a more playful, game-like way. Akane should broaden her repertoire within zenza-banashi by learning beginner stories from different categories and genres. The page frames this like learning starter spells in different elements: she can ask masters to teach whichever kind of rakugo she wants to learn, gain skill through practice, and build up more usable options. The examples include categories such as long phrases, parroting, faking knowledge, and free-for-alls, with stories like “Jugemu,” “Tarachine,” “Praising Children,” “Worth a Drink,” “Tenshiki,” “Yakan,” “Scared of Manju,” and “Drinking Party.”

So the main lesson here is that Akane does not need one or two harder stories right now. She needs a wider base of beginner-level stories across different styles, so that when the netacho blocks some of her options, she still has other suitable zenza-banashi she can perform.

Karashi explains that choosing who to learn from is just as important as choosing what story to learn. People may assume that every apprentice becomes a perfect copy of their master’s style, but that is not really how rakugo works. In practice, rakugoka learn from a wide selection of masters, and the same story can be told in countless different ways depending on the performer. Because of that, Akane needs to develop an eye for deciding which master she should receive each story lesson from.

He also warns her that not every school handles outside lessons the same way. Some masters, including Karashi’s master, do not allow zenza to learn from other masters freely. So if Akane wants to take lessons outside Shiguma’s direct teaching, she needs to check with Shiguma first. Akane starts smiling, which irritates Karashi, but she explains that she is just thinking about how lucky she is to have him around because she would have been in serious trouble without his explanations.

Akane sincerely thanks Karashi and says she is really grateful. Karashi responds by calling her gratitude “cringe,” which shocks Akane. When she asks how he can say something so mean, he tells her not to care and says he is not going to sit around being friendly with her. He has already learned ten stories, making it clear that he sees himself as ahead of her in practical repertoire-building.

Karashi then openly frames their relationship as a rivalry. He says there is no fun in destroying someone who is not worth the trouble, so he wants Akane to become someone worth competing against. He declares that the next time they meet, he will be so far ahead of her that she will have no choice but to acknowledge his superiority. Akane accepts the challenge and answers, “We’ll see about that.”

Akane then goes to Shiguma to ask about learning from other masters. Shiguma calmly says that it is about time and gives her permission. Akane is surprised by how easily he agrees, and when Shiguma asks whether she wanted him to be more protective, she quickly denies it. Still, her hesitation suggests that part of her may have expected a stronger reaction from him, especially because learning from other masters means stepping further into the wider rakugo world beyond Shiguma’s direct guidance.

Akane explains why Shiguma’s easy permission feels complicated to her. Her desire to make Issho accept her father’s rakugo is what drove her to become Shiguma’s apprentice and a rakugoka in the first place. Because of that, she worries that learning from other masters might not align with her original goal, even if learning elsewhere is normal for rakugoka. Shiguma listens and asks whether she is familiar with the term “shuhari.”

Shiguma then explains the three stages of artistic mastery. Shu means protecting what one’s master teaches, learning it properly, and making it one’s own. Ha means breaking from that foundation by learning other schools’ styles and philosophies, then using those influences to evolve the craft learned from one’s master. Ri means departing from those foundations after refining the art and establishing a style that is fully one’s own. Shiguma says this is how all rakugoka master their craft, and that Shinta was no exception.

He then tells Akane why staying only under him would limit her. If she keeps learning only from Shiguma, she may get closer to Shiguma and Shinta’s styles, but she will only ever become a weaker imitation of them. If she does not learn to surpass them, then she will never truly reach her goal. Shiguma says he has spent the past years focusing her on zenza-banashi in order to train her fundamentals, but now that foundation is no longer enough by itself.

Shiguma says it is time for Akane to move from shu to ha. In other words, she needs to leave his direct care and learn elsewhere. He reassures her that the last seven years were not wasted, and that learning from a different master will not diminish what he has already taught her. He also admits that he could have told her this before she started working backstage, but if he had done that, Akane would have ignored her zenza duties and obsessed over performing instead.

Shiguma sums up the lesson by saying that learning many different artistic styles is the key to gaining that specific art. Then he casually reminds Akane that she should be leaving soon because she is working backstage at Yasaka-tei again that day. Akane panics, bows quickly, and rushes out. The chapter ends by urging her to cross the fence, go beyond boundaries, and learn, marking the start of Akane expanding beyond Shiguma’s direct teaching.

Chapter 38
This chapter opens with the title “Manners and Etiquette.” At Shiguma’s home, Koguma asks whether Akane was just there. Shiguma says that she has already left, then asks if Akane was the person this visitor wanted to speak to him about. The visitor says no; the real issue is Guriko, though he also mentions that he has heard strange rumors about Akane recently. This briefly sets up that Akane’s growing reputation is still spreading while another concern involving Guriko is starting to surface.

The scene shifts back to Yasaka-tei, where Akane is working backstage again. She uses a knot in the wooden floor as a reference point and realizes that if she lines the cushion up with it, the distance between the cushion and the microphone is exactly 80 centimeters. This shows that she is starting to internalize the precise backstage rules she struggled with earlier. Instead of needing every instruction explained to her, she is learning practical tricks that let her complete zenza duties smoothly.

A senior performer, Hassho Tsubakiya, takes the stage. He begins by talking about how education standards in the old days were very different from the present. Since there was no compulsory education, many people were illiterate. This introduction leads into the day’s story, which Akane identifies as “Hirabayashi.”

The story centers on Sadakichi, who is asked to deliver a letter to someone named Hirabayashi. Unfortunately, Sadakichi is forgetful and cannot read kanji, so he has no idea how to read the name written on the letter. When he asks a passerby for help, the passerby misreads the characters and tells him the name is “Mr. Hirarin.”

Hassho then repeats the mistaken name in a soft, sing-song rhythm: “Hirarin, Hirarin, Hirarin-rin.” The audience is not bursting into laughter, but they are smiling. Akane notices that the story is creating a warm, pleasant atmosphere rather than a loud comic reaction. The humor is gentle, and the effect comes from how comfortably Hassho guides the room.

Akane realizes that the source of that atmosphere is Master Hassho’s gentle way of speaking. His delivery seems to spread through the entire hall and envelop the audience. After Karashi’s warning, Akane has started sorting the stories she knows by type, and watching Hassho gives her another example of how a story’s category is not the only thing that matters; the performer’s tone and manner can completely shape how the audience receives it.

Akane reviews the types of zenza-banashi she already knows. Her current stories cover categories like free-for-alls, parroting, faking knowledge, and phrases. Because those four areas are already covered, she decides that, ideally, her next story should come from a different category so she can broaden her repertoire properly.

She identifies “Hirabayashi” as belonging to the illiterate category, because the story begins with a character who cannot read. That makes it valuable for Akane because it would give her a new type of zenza-banashi, not just another story similar to the ones she already knows. However, she also recognizes that Hassho’s version is especially strong because of his particular gentle style.

After Hassho leaves the stage, Akane bows and tells him he did a wonderful job. Hassho thanks her in return, saying that the space between the microphone and the cushion was perfect. Akane is delighted because he is so kind, and this positive impression makes her even more interested in learning from him.

Remembering that who she learns a story from matters, Akane immediately asks Hassho to teach her the “Hirabayashi” story he just performed. She asks very directly and enthusiastically, hoping to learn that same version from him.

Hassho politely refuses. He first asks whether Akane has spoken to her own master about learning that story from him. When Akane says she has not, Hassho explains that rakugo stories are a rakugoka’s tools of the trade, and there are proper manners and etiquette involved in receiving them. He tells her she should first learn those rules from her master and fellow apprentices.

He then says that after learning those manners, Akane should learn “Hirabayashi” from a different master, not from him. Akane is confused and disappointed, but Hassho makes it clear that his refusal is not only about procedure. He brings up the “wrinkle” Akane created in “Sango-Jigo” the other day and asks whether that addition was really made to make the story more entertaining.

Hassho explains that seniors should guide the younger generation, and he does want to be helpful. However, as someone who has taken pride in mastering his craft, he does not want to pass that craft on to someone who would use rakugo for a stunt like that. Akane realizes he is talking about how she used rakugo to get back at Rien, which echoes Rokuro’s earlier warning that her performance created a grudge rather than a joke both sides could laugh at.

The chapter continues after Hassho refuses to teach Akane “Hirabayashi.” His rejection is not just a simple “no”; it makes Akane confront the consequences of using “Sango-Jigo” to strike back at Rien. Hassho’s point is that rakugo stories are not just tools for personal retaliation. Even if Akane’s performance was effective, it has damaged how some senior performers see her, especially those who care strongly about manners, etiquette, and respect for the craft.

In a separate scene, the tate-zenza, Ryoji Hakutei, tells Akane that she will not be given any opening performance slots for the next ten days. Akane reacts with shock and demands to know why. Ryoji looks nervous and hesitant, suggesting he either has an awkward reason or is uncomfortable enforcing the decision. Ryoji then spells out the situation even more bluntly. He tells Akane that everyone is already talking about her fight with Rien. Worse, there were already people who resented her before she even formally joined the school because of the attention she caused with the Karaku Cup and the rumors around her. To Ryoji, using Akane now would be dangerous because Rien might make him his next target. He also worries that if Akane fires up the stage before a futatsume performs, the futatsume might not want to follow her.

Ryoji’s reaction is cowardly, but he is at least honest about it. He becomes physically anxious just thinking about the risk, saying his stomach hurts from the idea. He admits that Akane probably thinks less of him, but the truth is that he is not brave enough to suffer those risks for someone else. In practical terms, he tells her that she should assume she will not be getting a performance chance from him.

This leaves Akane trapped from two directions. She is not learning a new story from Hassho, and now she is also not getting a chance to perform through Ryoji. If this keeps happening, then her zenza training could stall completely. She needs more stories to solve the netacho problem, but the people who can teach her are hesitant because of the Rien incident. She also needs stage time to grow, but the person assigning opportunities does not want to risk using her. Akane realizes the problem is bigger than one refusal and starts panicking over what she should do next.

At that moment, Rokuro notices her and asks what is wrong. He says she looks pale and asks whether she feels sick to her stomach. Akane is surprised to see him because he is not scheduled to perform that day. Rokuro explains that he had something to show Master Hassho, then hands her a flyer for a show he is putting on.

The flyer is for Rokuro Kashiwaya’s “Rokumeikai” neta-oroshi event, scheduled for June 18, with Hassho Tsubakiya appearing as a guest. Rokuro casually says Hassho probably would not have stuck around after finishing, then starts to leave. Akane stops him and asks a direct question: whether he already has a zenza for the event. Rokuro says he does not.

Akane immediately asks him to let her serve as the zenza. This is an important move because she is no longer waiting for Asagao or the usual Yasaka-tei system to give her an opportunity. Since normal doors are closing because of her reputation, she tries to create a new path herself. Rokuro warns her that the Rokumeikai is a neta-oroshi event, meaning each participant will perform their own specific story for the very first time. That makes the event more delicate and serious than a normal show.

Instead of rejecting her, Rokuro smiles and says it sounds fun. This matters because Rokuro had already warned Akane about the way she handled “Sango-Jigo,” but he still recognizes her potential. Unlike Hassho, who refuses to teach her, and Asagao, who is too afraid to use her, Rokuro is willing to give her a chance in a different setting. That makes him the first person in this stretch to respond to Akane’s problem by opening a door rather than closing one.

The chapter then shifts to a phone call at Yasaka-tei. Ryoji nervously answers the phone, only to be shocked by the caller’s demand. The caller is Urara Ransaika, who says she will take over as the closer for the next night. The person on the phone panics and asks what she just said, but Urara makes it clear that she heard there was going to be a substitution and has already decided to step in.

Chapter 39
The chapter opens by continuing Akane’s current problem: the Rokumeikai is a neta-oroshi event, meaning everyone performing there is debuting a particular story for the first time. That makes it a serious setting, not just a casual chance for Akane to get stage time. Akane is left wondering what she should do next.

Even after her talk with Shiguma about moving from shu to ha, Akane is still stuck. Some masters are avoiding her because of the rumors around her, and she worries that if this keeps up, she will not be able to learn any new stories. When she tries to help one of the masters by offering to take something for him, he rejects her directly, saying, “Not you, Arakawa.” This shows that the backlash from her “Sango-Jigo” incident is already affecting her backstage relationships.

Then Akane notices a huge line outside Yasaka-tei and is shocked by how long it is. Ryoji suddenly appears behind her and startles her, then explains that this kind of line is normal when an ookanban is performing. Akane does not know the term, so he explains that among shin’uchi, only a small number of rakugoka are popular and powerful enough to fill an entire hall just because audiences want to see them. Those major headline-level rakugoka are called ookanban.

Ryoji then reveals that the line Akane saw is for that day’s closer: the most successful female rakugoka at the moment, setting up the arrival or importance of a very high-status performer, likely someone who will matter to Akane’s next step.

Master Urara Ransaika is formally introduced as the major performer everyone has been waiting for. Akane and Ryoji are immediately overwhelmed by her presence. Akane is struck by how beautiful Urara is, and she also notices the sweet scent of her perfume in the air. Ryoji snaps Akane out of her staring and tells her to stop gawking, making Akane hurriedly apologize.

A new character then arrives: Mayura Ransaika, a futatsume and Urara’s disciple. She comes in carrying a large amount of luggage and is surprised that Urara arrived before her. Urara casually says she must have been too early, while Mayura insists that is not a problem and immediately prepares to set everything up.

Mayura quickly notices that Urara has already brought her own tea and cushion. Rather than being offended, Mayura praises her master’s preparation, calling it very good. When Mayura asks whether Urara always comes this prepared, Urara says yes and adds that she actually packed a little lighter than usual today. Akane and Ryoji are surprised because even this “lighter” amount still looks like a lot of preparation.

Mayura explains that being at her master’s side brings her nothing but joy, showing how devoted she is to Urara. She then reveals that she brought five kimono for Urara to choose from and asks which one Urara would like to wear. Urara thanks her and says that it is a great help.

Urara’s interaction with the audience makes Akane uncomfortable because the mood feels strangely intense. Audience members and older patrons crowd around Urara, thank her, and bring her gifts, including flowers and packages. Akane realizes the weirdness comes from the way they look at Urara: they seem almost desperate to receive even a few words from her.

Someone then brings up a rumor about Urara’s very first performance. Supposedly, she forgot her material and spent the eight minutes she needed to fill just sitting silently onstage without saying a single word. Akane thinks that would take a lot of courage, but the stranger says that is not even the craziest part. According to what his master told him, Urara received the biggest applause of anyone who performed that day despite not saying anything.

The point is that Urara’s appeal is not treated as ordinary skill or charm. The speaker says Urara’s performances are “like a drug,” suggesting that her stage presence has an addictive, almost hypnotic pull over the audience. This further explains why the fans waiting for her seem so entranced before she even performs.

While another performer is onstage, Mayura turns her attention to Akane and asks for a moment. She has Akane try on one of the kimono and judges how it looks on her, saying it is not bad and that it suits her. Akane is flustered and points out that it is almost time for Urara to go on, but Mayura says she is only killing time. She then bluntly tells Akane that no one backstage is paying attention to her right now, emphasizing how completely Urara dominates the room’s attention.

Urara has Akane try on one of the kimono and calmly says it looks good on her. Akane becomes flustered and points out that Urara is almost due to go onstage, but Urara says she is only killing time. She then tells Akane that no one backstage is paying attention to her anyway, because everyone’s focus is still centered on Urara herself.

Urara explains that the traditional arts world is ruled by etiquette and hierarchy, so people do not look kindly on someone who disrupts the usual order. She asks Akane whether she has heard about the backlash surrounding her recent actions, and Akane admits that she has. Urara then asks whether Akane regrets it, whether she thinks she made a mistake, and Akane answers yes.

Akane clarifies that what she regrets is not her anger itself, but the way she used rakugo to get revenge on Rien. Urara asks if that means Akane does not regret the act of revenge itself. Akane says she became a rakugoka in order to assert herself, so she wants to be honest with herself about those feelings instead of pretending they do not exist.

Urara laughs and says that sounds exactly like something an apprentice of “Shiguma-kun” would say, which shocks Akane because of the casual way Urara refers to her master. Urara accepts Akane’s answer, but gives her a blunt lesson: if Akane does not intend to impose her own will, then there is no point in pursuing a life in the arts. Urara then tells Akane to watch from the wings. She says she will show Akane the basics of how to lead a self-centered life, framing her upcoming performance as a lesson in artistic selfishness and presence.

Chapter 40
This chapter opens with the title “The Image of Greatness.” Akane is watching from the wings as Urara’s turn approaches. Master Hassho notices her there and asks whether she is also learning from the wings. Akane is surprised to see him, and he lightly checks whether she is neglecting her zenza duties. Akane explains that Master Urara told her to watch from there, so Hassho accepts it.

Hassho then asks Akane what she thinks Urara is like. Akane hesitates and admits that part of her finds Urara intimidating. Hassho responds by giving Akane some background on why Urara’s existence as a great rakugoka is so significant. He explains that in the past, many rakugoka used to say, “A woman cannot perform rakugo.”

Hassho explains the excuses people gave for excluding women from rakugo. They claimed rakugo had developed with the assumption that men would perform it, that most characters in rakugo stories were men, and that women’s higher-pitched voices could not carry the same weight in heated dialogue. Some masters would outright refuse any woman who asked to become an apprentice, and when a female rakugoka took the stage, some audience members would simply stand up and leave.

Hassho calls this a dark part of rakugo history, saying that a great deal of potential was snuffed out because of gender. However, he also says that people who still think that way are now few and far between. When Akane asks what kind of person Urara is, Hassho tells her it would be best to discover that herself. He says Akane has a chance to witness someone who survived an era of adversity.

Urara then appears, fully dressed for the stage. Her entrance is framed as “the image of greatness,” emphasizing that Akane is about to see not just a popular performer, but someone who forced her way to the top despite the hostility and prejudice surrounding female rakugoka.

Urara steps onto the stage to a huge reaction from the audience. Even from the wings, Akane can feel the crowd’s passion and anticipation pressing toward her, and she wonders what kind of rakugo Urara is about to perform. The scale of the audience response makes Urara feel less like an ordinary performer and more like someone the entire hall has been waiting for.

Urara quietly lowers herself into her bow, and the audience’s excitement surges even more. However, Akane is shocked when that intense energy suddenly disappears almost instantly. Urara has not launched into a story yet; just through her presence, timing, and demeanor, she cuts off the crowd’s overexcitement.

Urara then lightly scolds the audience, telling them they got carried away and that this is not a pop concert. Hassho explains to Akane that Urara “calmed the crowd down” because she sensed they were too rowdy to properly listen to her story. Akane realizes this is similar to what she tried to do at the Karaku Cup when she adjusted the audience’s mood before performing “Jugemu,” except Urara accomplishes it without needing to say a word first.

Urara begins by explaining a phrase often heard in rakugo: characters “going inside.” In this context, “inside” refers to Yoshiwara, the Edo-period pleasure quarter, a brothel district enclosed by walls and associated with lust and entertainment. She explains that Edo men would go there to prove their manhood, but the women working there were not simply passive objects for customers.

Urara continues by explaining that high-ranking courtesans, especially prestigious oiran, had the right to reject customers. Even if a man arrived proudly carrying plenty of money, he would be out of luck if the courtesan did not care for him. In fact, Urara says that men who went out for a night of pleasure in Yoshiwara failed more often than not.

Urara’s story turns out to be “Fetching Tea.” She begins with a man boasting about how he went “inside” to Yoshiwara for the night, only for the women there to reject him. When another man mocks him as pathetic, he tries to save face by claiming the ladies simply could not get enough of him. Akane recognizes the story, and the setup frames it as a kuruwabanashi, or brothel-quarter story, built around the mind games between men and women in Yoshiwara.

Inside the story, the man explains that one courtesan looked at his face, screamed, and ran away. After a few minutes, he is sent into a room, where the same woman is suddenly sitting calmly and waiting for him. He asks why she screamed the instant she saw his face, and the entire audience leans into the answer, waiting for the punch or reveal.

Urara then delivers the courtesan’s line with total control: she says they should not rush into sleeping together on the very first night, and asks him to hear her story first. The audience reacts strongly because Urara has completely taken over the room. She is not just telling a joke; she is making the hall feel like the audience has stepped into the courtesan’s world.

As Akane watches, Hassho continues explaining Urara’s significance. He says there were once rakugoka who loudly insisted that women could never perform rakugo. One of those people was the great twentieth-century master Sharaku Ransaika. However, despite that belief, Sharaku himself was the one who recruited and promoted Urara. That makes Urara’s position even more striking: she rose through a world that doubted women and was recognized by someone who had once represented that prejudice.

Urara then shifts the atmosphere even further. Smoke fills the stage, the room seems to change shape around her, and Akane is told to let what follows sink into her eyes and ears. The final image presents Urara not merely as a performer sitting onstage, but as the center of an entire sensual, theatrical world. Akane is witnessing the ookanban Urara Ransaika at her best.