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.

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.

 

[Daniel]

Chapter 41
This chapter begins by shifting into the background of Sharaku Ransaika, a major figure in mid-20th-century rakugo. The narration says that rakugo history from that era cannot be discussed without mentioning him. Sharaku was famous for his excellent depictions of female characters, and his kuruwa-banashi—stories set in brothels and pleasure quarters—were considered especially exquisite. He was known by the epithet Tenshukaku, meaning “Heaven’s Scarlet Kuruwa.”

However, Sharaku also had another reputation: “Sharaku the Unteaching.” He refused to teach his methods to anyone and never took a single apprentice under his wing. This was not because he lacked confidence in his art, but because he believed no one could properly inherit it.

The narration explains Sharaku’s reasoning. Women were out of the question in his mind. A young man, he thought, would not be able to grasp the true essence of his work. An experienced rakugoka would bring their own flavor and contaminate the techniques Sharaku had refined so carefully. Because of this, Sharaku concluded that his art would die with him and never be passed on to another generation.

That changed when Sharaku met Urara. Shortly after their first meeting, he convinced her to become a rakugoka. The narration emphasizes how extraordinary this was, since Urara became the only apprentice Sharaku ever accepted in his entire life. Sharaku later said that within her, he saw “the true essence of my art.”

The chapter then returns to Urara’s current performance. Akane is stunned by the artistry in Urara’s expressions, especially how completely she draws the audience into the world of the story. Akane feels as though she is not merely watching Urara perform “Fetching Tea,” but has literally entered the story’s setting. At the same time, Hassho notices Akane’s reaction and points out that she seems to have realized something is off about the performance.

Urara’s performance is framed as unusual for a kuruwa-banashi. Normally, even though these stories are set in the pleasure quarters, the main character is still a man, and the humor often comes from mocking men’s failures, embarrassment, and foolishness. But Akane senses that Urara’s kuruwa-banashi is different, because the focus begins shifting toward the woman at the center of the story.

In the story, the oiran explains her past. She came to Tokyo after eloping with a man, then sold herself to the brothel so she could raise money for him to start his business. The business was meant to be their future together, but tragedy struck: the man became ill and died. Three years later, the male narrator visits this oiran, and she tells him that he looks exactly like the man she lost.

The audience is completely pulled in by this setup. When the oiran tells the narrator, “You’re the spitting image,” the crowd reacts with excitement, wanting to know what happens next. Urara then has the oiran ask the man to keep visiting her, saying she wants to support him from then on and give him everything. The narrator casually answers that he would love to keep coming.

At that point, Urara pauses the story and directly asks what the oiran says next. Akane suddenly realizes what has been bothering her about the performance. The audience is no longer simply listening from the outside; they are reacting as if they are inside the emotional flow of the story themselves.

Akane understands that Urara has blurred the boundary between the story world and the real audience space. The hall itself feels like it has become part of Yoshiwara, and Urara’s presence makes the audience feel like they are not merely watching the oiran, but being drawn into her world.

Hassho explains that kuruwa-banashi can become unbearable if performed poorly, because the audience has to understand the social world of the old pleasure quarters for the story to work. He says Sharaku Ransaika emphasized dialogue and the art of conversation above all else when performing these stories. The reason Sharaku finally “sat up and listened” was because he encountered a conversationalist who could pull him in. That person was a beautiful woman: Urara.

This is where Hassho clarifies the contradiction at the heart of Sharaku and Urara’s relationship. Sharaku believed deeply that women could not perform rakugo, but after seeing Urara, he wanted so badly to hear her perform his rakugo that he broke one of his own strongest beliefs. Akane understands that Urara’s conversational skill is extraordinary, but Hassho says the thing that truly amazes him is something else: her sensuality.

Hassho explains that when a female rakugoka overplays a character’s sensual side, it can distract the audience and limit the story. That is what his own master taught him. But Urara does not suppress that sensuality. Instead, she turns it into a weapon. Rather than letting it cheapen the performance, she uses it to drag the listeners even deeper into the world of the brothel and make the atmosphere of the story feel overwhelming.

The audience is completely caught. Hassho describes Urara as having a bewitching air that enthralls everyone who sees her, combined with conversational skill powerful enough to make even a twentieth-century legend like Sharaku bow before it. Through her kuruwa-banashi, she does not simply portray the pleasure quarter; she makes the audience feel trapped inside its spell. That is why Hassho calls her the true master of these stories.

The chapter ends on a striking image of Urara surrounded by skulls and skeletal figures while holding the world of the brothel in her hand. Hassho then concludes his explanation by identifying the onstage performer as Urara Ransaika, designating her as “the courtesan from hell”. The final image left behind is both striking and brutal: far from being soft or merely decorative, Urara’s beauty is intoxicating, dangerous, and practically deathlike in its absolute dominion over the audience.

Chapter 42
This chapter opens right after Urara’s performance, with the audience outside Yasaka-tei still buzzing about her. People call Urara Ransaika “the real deal,” say it felt like they could actually see inside the brothel from her story, and praise how beautiful and cool she was. One audience member even says they cannot wait to see her again, showing how strongly Urara’s performance lingers even after the show ends.

Backstage, Akane is still shaken by what she watched. As Mayura attends to Urara, Akane thinks that Urara’s rakugo was incredible and admits to herself that she has no idea how she could ever reach that level. She wants to learn a story from Urara, but then remembers Hassho’s warning that there are proper manners and etiquette involved in learning rakugo stories.

Urara notices Akane’s troubled expression and asks what is wrong. Akane nervously tells her that the performance was very enlightening, but Urara immediately sees that there is more going on. Instead of letting Akane awkwardly struggle through it backstage, Urara simply tells her to come along.

The scene then shifts to a bar or restaurant, where Urara, Mayura, and Akane sit together. Akane is confused by the sudden change of setting, while Mayura explains Urara’s drinking habits, noting that Urara usually starts with red wine for her first glass but that today feels more like a bubbly kind of day. Urara then directly asks Akane to tell her about the “bullying.” Akane insists she is not being picked on, but Urara gives her a sharp look and tells her to talk.

Akane explains the situation, and Urara responds with sympathy, saying that it sounds difficult and calling Akane a poor thing. Mayura immediately questions whether Urara is being sincere. Akane apologizes for bringing up other people’s troubles while Urara is drinking, but Mayura says Urara actually loves hearing about other people’s problems when she drinks. Urara casually adds that Mayura’s cattiness is a big part of her charm.

Urara then sums up Akane’s situation bluntly: Rien disrespected her, and Akane threw it right back in his face. This shows that Urara understands the heart of the problem. Akane did not simply make a technical mistake; she used rakugo to retaliate against someone who looked down on her, and now the consequences are catching up to her.

Urara tells Akane that the “correct” choice might have been to suppress her feelings and endure the insult, but she immediately undercuts that idea by saying that would make Akane no better than a common hoodlum who is simply too ready to fight. Urara then connects Akane’s situation to her own past. She says that masters, fellow artists, and listeners told her things like “women can’t do rakugo” and “just quit being a rakugoka,” but she asserted herself anyway.

Urara’s lesson is not that Akane should become obedient or flatter people above her. Instead, she says Akane does not need to flatter her superiors, and that if Akane wants to humiliate fools, she should humiliate them properly. Her point is that Hassho’s problem was not Akane’s anger itself, but the clumsy way she used rakugo to express it. Whatever Akane chooses to do, she needs to do it well.

Urara then asks Akane what she will do next. Akane admits that the situation is tough and that she knows it is her own fault, but she is still upset that she may no longer get to learn from Master Hassho. She explains her current goal: she wants to perform at Rokuro ani-san’s Rokumeikai neta-oroshi event so she can show Hassho that she has changed. The problem is that she needs a new story in order to appear there.

Urara suddenly offers to teach Akane a story herself. Akane is stunned, and Urara specifies that she would teach her “Fetching Tea,” the same story she performed earlier that day. Akane is excited at first, but the difficulty of the offer immediately becomes clear.

“Fetching Tea” is not a beginner-friendly zenza-banashi meant for the start of a show. It is the kind of story saved for the end of a program, and it is normally meant for a shin’uchi to perform. The page even contrasts it with the evening slate, where lighter stories like “Hirabayashi” and “Tarachine” appear earlier, while “Fetching Tea” sits in the later, heavier position. Akane realizes how absurdly high-level the offer is: she would be learning an advanced closer’s story from a great ookanban while still a zenza. Mayura suggests Urara should choose something different, but Urara flatly refuses.

Urara then makes it clear that this is not charity. She is not offering to help Akane simply because Akane is in trouble. She calls it an evaluation. Urara says that in order to make her own desire come true, she needs many worthy pieces on her side, and if Akane has no value to her, she will cut Akane loose without hesitation.

Urara asks Akane what she desires. She tells Akane that if she wants to know Urara’s goal, she will need to prove that she is useful, though she can decline if she is not up to it. Akane immediately refuses to back down. She says this is a better opportunity than anything she could have asked for, regardless of Urara’s true motive, and declares that she would be honored to take the chance.

The chapter then jumps ahead to Urara Ransaika’s solo event, where Urara tells Akane that it is time to see what she can do. Akane is now working with Urara directly, but not in a glamorous way at first: she is hauling luggage and filling in for Mayura’s usual role. Urara reminds her that she got permission to leave Yasaka-tei for now, so the least she can do is properly handle Mayura’s duties.

While struggling with the luggage, Akane runs into Rokuro Kashiwaya. She is surprised to see him there, then remembers that he is the opener for Urara’s event. Rokuro says no one is more surprised than he is, implying that being chosen to open for Urara is a major and unexpected opportunity even for him. When Akane mentions that Urara is going to teach her “Fetching Tea,” Rokuro says it is impressive that Urara has taken an interest in her, but Akane explains that it is not exactly affection; Urara is still evaluating her.

Rokuro then reveals how rare this situation is. Outside of her own personal apprentices, Urara has only taught rakugo stories to three people. For Akane to even receive Urara’s evaluation is already an honor. At the same time, Rokuro recognizes the issue: Akane’s answer to needing a new story for his event is to learn “Fetching Tea,” which is normally not a sensible choice for someone in her position.

However, Rokuro does not reject the idea. He points out that he never specifically told Akane she had to learn zenza-banashi, so he is willing to make a special exception. Akane feels guilty, saying she keeps asking for impossible things, but Rokuro lightly tells her that at least she is aware of it. This leads Akane to ask him why he keeps helping her so much.

Rokuro answers that some people want to hammer down the nail that sticks out, while others are entertained by it. He places himself in the second group. He also tells Akane that he knows several rakugoka who are intrigued by the rumors surrounding her, meaning her troublemaking reputation is not only hurting her; it is also drawing interest from people who want to see what she might become. His advice is simple: rakugo is not only a world of rules and regulations, so she should keep her head up and keep moving forward.

Urara then catches Akane chatting with Rokuro and teases her, saying she seems to be enjoying herself and has ignored her work in favor of flirting. Akane panics and denies it, but Urara cuts straight to the point: Akane should watch Rokuro’s performance from the wings.

The chapter ends by framing Rokuro as Akane’s next lesson. Urara says that by watching him, Akane will understand why Urara personally asked him to be her opener and why Rokuro is known as “the Wonder Child.” The final page shows Rokuro preparing in a kimono, headphones on, looking calm and focused before his performance.

Chapter 43
The chapter begins at Urara Ransaika’s solo event, held at a much larger venue than Yasaka-tei. Akane is shocked that the place is completely sold out, which reinforces how huge Urara’s name is as an ookanban performer. While Akane is taking in the scale of the event, someone suddenly recognizes her.

The person who calls out to her is a Monthly Rakugo writer named Kimihisa Kashio. He is the writer who published the viral Karaku Cup article about Akane, and he excitedly identifies her as “the Karaku Cup winner, Akane Osaki.” Akane does not share his excitement. Once she realizes who he is, she asks if it would be okay to punch him in the face.

Akane explains that his article caused a lot of trouble for her. Kashio protests that they got permission for the pictures and videos, but Akane says that is not the issue. The problem is that the article spread her name around so much that now she has to deal with senior apprentices from other schools who resent her or have it out for her. Kashio is surprised to hear how much backlash she has been facing since officially joining the rakugo world.

Kashio then starts looking at the situation from a writer’s perspective. He thinks that since Akane was bold enough to call out Master Issho, it makes sense that Master Urara would take an interest in her. He also gets excited by the idea of “rising talents from opposing schools clashing onstage,” which Akane questions because she does not see merely appearing at the same event as some dramatic battle.

Kashio explains why he sees it that way. The Arakawa school is described as progressive, with unique promotion standards meant to reform old traditions. By contrast, the Kashiwaya school has more than two centuries of history and carries the traditions of Tokyo rakugo, making it the largest school of Edo rakugo. To Kashio, Arakawa versus Kashiwaya represents reform versus tradition, which makes Akane and Rokuro sharing the stage feel symbolically loaded.

As Akane still seems unconvinced, Kashio tells her she will understand once she sees Rokuro’s performance. The final page has Rokuro seated onstage, calm and composed, beginning his role as the opener for Urara’s event.

Rokuro begins his opener by going straight into the story with no makura, which surprises Akane. The story he performs is “The Carpenter’s Inquiry.” In the setup, the master carpenter brings a job for Yotaro, but Yotaro cannot work because his landlord confiscated his toolbox after he fell behind on rent.

Inside the story, the master carpenter tries to handle the rent problem for Yotaro. He asks whether Yotaro came to pay back the rent, only to point out that Yotaro is still 800 mon short. Yotaro casually answers that he already knows, which makes the master carpenter snap, “Then why are you here?!” Even with that joke, the performance feels unusually calm and relaxed; some audience members are even listening with their eyes closed.

Kashio explains that Rokuro said in an earlier interview that today’s style is Coltrane, referring to the jazz musician he was listening to. According to Rokuro, rakugo is sound. Like music, it is made up of different tones, rhythms, and arrangements. Akane realizes that “Coltrane” is Rokuro’s personal interpretation of how he wants to perform this specific rakugo story.

The chapter then shows how Rokuro assigns different “sounds” to each role. Yotaro mumbles lightly, giving him a loose and careless feeling. The carpenter is higher-pitched and more emotional or thoughtful. The landlord is quiet and heavy. Akane begins to understand why the audience is listening so carefully: Rokuro’s voice, timing, and pacing make the whole performance feel pleasant even before the story itself becomes dramatic.

The visual metaphor shifts into a jazz arrangement, with instruments surrounding Rokuro. The point is that the entire structure of his words “feels good,” almost like a musical composition. Kashio notes that on Coltrane days, Rokuro’s stories tend to begin slowly and gently, which fits the relaxed atmosphere of the performance.

Then Rokuro suddenly breaks that calm mood with a violent emotional outburst: “What gives you the right to talk to me like that, ya useless lump of flesh?!” The quiet, smooth performance instantly gains teeth. This shows that his “laid-back” style is not flat or sleepy; he is controlling the rhythm so that the sudden burst of anger lands much harder.

Rokuro’s performance suddenly shifts from a relaxed, pleasant rhythm into a much harsher attack. Akane is stunned because the same performance that felt smooth and almost musical now feels aggressive, as if the words themselves are striking the audience. Kashio explains that this is part of Rokuro’s “Coltrane” style: he starts slowly and gently, then goes into overdrive in the latter half.

In the story, the landlord explodes at the carpenter with a long, vicious rant. He insults him as a worthless nobody, mocks his background, and says he is only useful for errands like fetching water or carrying messages. The effect is intense because Rokuro does not merely raise his voice; he weaponizes the rhythm and texture of the dialogue, turning the previously comfortable atmosphere into something sharp and overwhelming.

Kashio then explains why Rokuro was chosen for Urara’s event. Young rakugoka who appear at Master Urara’s events usually react in one of three ways: they shrink under the pressure, try too hard to impress, or suck up to her. Rokuro is different. No matter who he performs alongside, even someone as dominant as Urara, he still tries to get the biggest reaction of the day.

That ambition is what made Rokuro stand out among the hundred-plus apprentices of the massive Kashiwaya school. He is not content with being a safe opener or a respectful supporting act; he performs as if he intends to seize the audience for himself. The crowd’s roaring applause confirms the point, and the chapter emphasizes the title attached to him: “the Wonder Child.”

Akane is deeply affected by Rokuro’s performance. She thinks she is glad she got to hear him before appearing at his Rokumeikai event, then realizes this may be exactly what Master Urara wanted her to see. Rokuro’s ability to make the audience cheer even during long stretches of dialogue shows Akane a different kind of strength from what she has been studying so far.

Kashio then gives Akane more background on Rokuro Kashiwaya. He says Rokuro is actually much calmer now than he used to be. In the past, Rokuro apparently got into all kinds of fights and was especially combative in how he argued with older apprentices. Because of that, Kashio suggests that Akane and Rokuro may be more alike than she realizes.

Kashio also explains that people often talk about rakugo events as if they are all the same, but each event has its own atmosphere. Some are relaxed and friendly, where everyone gets along, while others are tense and competitive. Urara’s solo event falls into that second category, which makes Rokuro’s bold, audience-grabbing opener even more meaningful.

Kashio then tells Akane that since he was charmed by her rakugo at the Karaku Cup, he hopes her own appearance at Rokuro’s event turns out well too. He calls that a heartfelt wish from a fan. Akane thanks him, and instead of feeling pressured or discouraged, she becomes even more fired up. The chapter ends with Akane smiling and saying she is “even more pumped up now.”

Chapter 44
The chapter begins with the title “First Practice on the Road.” The scene continues at Mitsugo Hall, where Urara Ransaika’s solo event is still underway. After Rokuro Kashiwaya finishes his opener, Urara takes the stage and completely overwhelms the packed crowd of more than 500 people, leaving them intoxicated by the world of the pleasure house she creates through her rakugo.

Backstage afterward, Urara praises Rokuro, saying he got the audience excited. Rokuro responds calmly that, on the contrary, he learned a great deal from watching her. Akane then rushes in happily with green tea, telling Urara that her performance was wonderful.

Urara immediately points out that green tea is not what she wants. Because the air conditioning dried out her throat, she says water would be better. Akane panics and runs off to get it, leaving Urara and Rokuro alone. Once Akane is gone, Urara asks Rokuro what he thinks of Akane and whether she will meet his expectations. Rokuro says he does not know yet, because it depends on what happens next.

Urara then turns the conversation toward Rokuro himself, asking, “And how about me?” Rokuro asks whether she has thought about his proposal, introducing a new unresolved matter between them. Urara says she has thought about it, but reminds him that she said she would give her answer after hearing his performance. For now, she only says that she will contact him again.

When Akane returns with water, Urara is already gone. A man backstage tells Akane that Master Urara went back to the changing room, then thanks her for bringing the water. Akane seems confused, since she missed the private exchange between Urara and Rokuro and still does not know what they were discussing.

Kashio cheers Akane on and says he will be at the Rokumeikai. After hearing what Akane went through because of his article, he thinks about apologizing, but decides that would only make himself feel better. Instead, he says that if he ever writes about Akane again, it will only be after she tells him her story directly. He resolves to stick to that principle and mentally tells her that he is in her corner.

Akane feels like the fog in her mind has cleared. More importantly, she realizes this is not the time to get trapped in her own thoughts. She goes to see Urara, who tells her that they will begin practicing the story the next day. Urara warns Akane to prepare herself, and Akane accepts with determination, thinking that she is going to hold on for dear life.

The next day, Akane arrives ready to train, but she is surprised by the location: a karaoke room. Urara confirms that this is where they will be learning the story. Akane had assumed that learning a story usually happened at the master’s home, but Mayura explains that it is actually common to learn backstage or at a Rakugo Federation practice space, and that learning at someone’s home may be rarer.

Mayura then takes out her phone to record the lesson. Akane is confused, so Mayura explains the basics of how rakugo stories are passed down. Rakugo practice is an oral tradition with no official script. The student listens to the teacher perform the story and learns it that way. Since it is difficult to memorize a whole story immediately after hearing it once, students now record the performance with a smartphone or audio recorder.

Mayura asks if this is Akane’s first time being taught a story. Akane answers confidently that it is not, saying she has been taught before. This sets up the actual training for “Fetching Tea,” but the pages emphasize that Akane is now entering a more formal version of rakugo transmission: not just studying a story from experience or performance, but receiving it directly from a master through oral teaching.

Akane explains why recording the lesson never occurred to her. She has been learning rakugo since before she had a smartphone, so she is used to the older way of listening directly rather than recording the performance for later study. Mayura accepts that explanation, and Urara cuts off the extra conversation, saying she is about to begin. Akane gets excited because this is finally her chance to learn from a teacher other than Shiguma.

The lesson officially begins on May 19 as a training session for “Fetching Tea.” Mayura records the performance, and Urara says that since Mayura is present, she will learn it too. Urara explains that she learned “Fetching Tea” from her own master, Sharaku, back when she was a futatsume, and that she will teach Akane the specific format she personally uses for the story.

The chapter then explains another rule of rakugo etiquette. In rakugo, it is taboo to watch another performer’s show from the audience just to study and copy their performance. Even a direct apprentice is only allowed to listen to their master from the audience if it is clearly within the context of a lesson. This is treated as very different from watching from the wings, where Akane has often observed performances as part of backstage work.

Mayura reflects that she is better at this kind of learning now, but the first time she heard Urara perform, she was so entranced that she could not actually learn anything. She quietly wonders whether Akane will be able to keep herself together. Meanwhile, Akane is already getting fired up, muttering that they are “really getting somewhere.” Urara’s recorded lesson runs for about 30 minutes and 23 seconds before she says that just about wraps it up.

Urara finishes the first full teaching performance of “Fetching Tea” and asks whether Akane has any questions. Akane immediately asks Urara to judge her attempt at the first interaction between the man and the oiran. Urara is briefly surprised, but instead of letting Akane start from that scene, she tells her to perform from the very beginning so she can judge Akane’s whole take on the story.

Akane then tries performing it right away. This shocks Mayura, because Akane appears to have already memorized the story after hearing it only once. Mayura realizes that Akane’s earlier comment about not using a phone was not just old-fashioned stubbornness; Akane genuinely has the memory and ear to retain a story from a single oral lesson.

Akane performs the opening and gets as far as the man’s invitation into the pleasure-quarter world. Her delivery is strong enough that Urara laughs and says it “wasn’t bad.” She also calls it “very interesting,” which sounds like praise at first, but Akane is already thinking critically about the fit between herself and the story.

Akane then gives her honest conclusion: the oiran does not suit her at all. More broadly, she says the story and the storyteller are not suited to one another. This shocks her because Urara herself chose “Fetching Tea” for her, so rejecting the fit of the story feels almost unthinkable. Still, Akane trusts Urara’s judgment enough to accept that this mismatch must matter. Urara calmly asks, “So… what now?” leaving Akane to figure out how she will handle a story whose central character does not naturally match her.

 

[Daniel]

Chapter 45
Urara tells Akane plainly that the story and the teller are not suited for one another. Akane asks what that means, but Urara does not give her the answer. Instead, she says Akane will have to think it through herself. Their time is up for the day, and Urara warns her that she has only two more chances to receive direct guidance, so time is not on her side.

The chapter then explains the formal process for learning a rakugo story. A story is learned in two stages: story practice and recital practice. In story practice, the master performs the story as if before an audience, while the apprentice watches and learns. In recital practice, the apprentice performs the story back to the master. If the master approves, the story is considered mastered and can be performed publicly. If not, the apprentice must attempt the recital again, because an unmastered story cannot be performed live.

Akane realizes that Urara is giving her three total attempts to perform “Fetching Tea” for her. Since Akane has already used one attempt, she only has two chances left to find the key to mastering the story. Urara then asks Mayura when Rokuro’s event is scheduled, and Mayura answers that it is on June 18 at six o’clock. Urara decides that Akane’s recital practice will happen earlier that same day, at one o’clock, and says she will contact Akane later about scheduling their next session.

Akane is shocked because that gives her very little time. Urara points out that Akane needs to have the story ready for Rokuro’s event anyway, and that this is the only free time she has available. Then she adds the brutal condition: it should not be a problem as long as Akane masters the story. In other words, Urara is giving her a chance, but she is not lowering the standard at all.

The scene then shifts back to Akane explaining the situation to her senior apprentices. They react with disbelief that she is learning from Master Urara, but they are also unsurprised that Akane has somehow landed herself in another dramatic mess. One of them points out that Akane is always getting into fights or trouble, asking if she ever avoids rushing headfirst into drama and whether she can simply “chill and be normal” for once.

Akane explains that although she only has five approved stories, she actually knows many more from memory. She used to listen to CDs of 20th-century rakugo at home and at the library, then memorize the stories on her own. However, her seniors remind her that she cannot publicly perform a story she learned by herself without properly receiving it from a master. Akane says she knows that, but because she wants to become a futatsume as quickly as possible, she has been trying to prepare ahead.

The chapter brings back the Arakawa school futatsume promotion requirements: 50 rakugo stories, kodan storytelling, song and dance, and taiko drums. Akane says Shiguma’s training focused more on building strong fundamentals than rapidly adding new stories. His standards for approving her were also high, so she tried to memorize story lines outside of lessons in order to make those lessons go faster. She admits the difficulty of adding more stories is partly her own fault, but her mindset was always shaped by her larger goal.

Akane states that she does not want to become just any rakugoka. She specifically wants to become an Arakawa school shin’uchi, so the only thing she has been thinking about is meeting the Arakawa advancement criteria as quickly as possible. She asks one of her seniors, as someone who has learned many different stories, what he thinks about her current problem with “Fetching Tea.”

His response cuts straight to the core issue: is Akane well suited to playing an oiran? He explains that an oiran is a woman of the night, skilled at seducing men with many charms. Akane immediately deflates and admits that if someone asked whether she fits that image, she would have to say no. But her senior says that does not necessarily mean the story is impossible for her.

He explains that sometimes a subtle detail can become the key to turning a weakness into a strength. At the same time, he warns that it is also common for performers to shelve stories they may never be able to master. The only way to know which case this is, he says, is for Akane to keep trying to understand the story. He tells her to keep pushing along, because pushing through difficult problems is exactly what she is good at.

Akane’s first solution is to attack the oiran problem from the outside. She goes to Yamakawa Beauty School, where Risa helps dress her in an oiran-style outfit. Akane is immediately excited by the transformation, shouting that she looks like an oiran and thanking Risa for how impressive it is. She also notices something practical: the head ornament is extremely heavy, and it is genuinely hard to move around while wearing the whole outfit. She thinks that experiencing the costume’s physical weight might help her get closer to the character.

However, when Akane presents this approach, Urara is unimpressed. She tells Akane that she seems really stiff. Urara’s point is that Akane is taking the oiran too literally: she is focusing on the kimono, the headpiece, and the outer form, but that only makes her rigid instead of helping her understand the woman inside the story. When Akane asks what she should do to understand the oiran better, Urara gives her a surprisingly blunt answer: since Akane is young, she should just go on a date.

Akane takes that advice and tries researching harder, but it does not solve the problem. She reads up on brothel culture, yet she admits that she still does not understand the oiran’s mindset at all. The more she learns, the more the story seems to slip away from her. This is very different from when she learned “Jugemu,” where research helped her find emotional meaning in the name. With “Fetching Tea,” the world of the story is too far outside her personal experience, so information alone does not give her a usable performance angle.

After experimenting for a while, Akane reaches a dead end. Urara flatly tells her that she sounds like an “armchair theorist,” which stings because Akane realizes Urara is right. She has only five days left until her recital session, and simply knowing the plot is not enough this time. Akane understands that she needs something more practical and immediate, but she does not know what else she can do. Then Urara’s advice finally clicks in her mind: “It’s the outlook.”

The scene then shifts to Ozaki, also called Jumbo, who has not seen Akane since they graduated three months earlier. He thinks it is strange that Akane invited him out to eat, and he briefly worries that going pro might have completely changed her personality. When Akane appears in front of him, she starts to greet him normally, then awkwardly corrects herself and calls him “Ozaki” instead of “Jumbo.”

Akane then forces herself into a cute, flirty persona, waving and saying she has been “sooo excited” to see him again. Ozaki is immediately shocked because this is completely unlike the Akane he knows. Akane invites him to go get food, but the performance is so unnatural that Ozaki can only stare in confusion.

Inside, Akane is mortified. She knows she is embarrassing herself, but she is trying to follow the logic of Urara’s suggestion. If the problem is that she cannot understand the oiran’s experience of charming or manipulating a man, then a date might give her at least some emotional foothold. But she cannot ask her older apprentice brothers because they feel too much like family, and asking someone like Guriko is completely out of the question. That leaves Ozaki as the safest option.

The problem is that Ozaki can see through it immediately. He remembers that Akane has always been headstrong and the type to leap before she looks, and he realizes that part of her has not changed at all. In fact, that is exactly why this feels so strange: she is not naturally becoming more seductive or oiran-like, she is just forcing a weird new persona on top of the same impulsive Akane. His conclusion is brutal but accurate: it is getting even worse.

Chapter 46
The scene at the beginning of this chapter moves away from Akane, depicting Urara and Mayura riding together on a train. Mayura asks whether Akane will figure things out, saying Akane looked like she was seriously struggling. Urara tells her that if she has time to worry about other people’s problems, she must be feeling confident herself. Mayura gets flustered, but Urara gives her honest assessment: Akane is “not really that bad,” and depending on how she plays the oiran, Urara could give her “Fetching Tea” a pass. The catch is that Akane can only succeed if she thinks she understands how to perform the story.

Mayura then mentions that Akane is apparently going on a date that day. Urara realizes Akane has finally taken her advice, but she wonders whether Akane actually understands the meaning behind that advice. In other words, Urara did not simply tell Akane to “go on a date” for romance or surface-level flirting. She wanted Akane to experience a certain mindset or social dynamic connected to the oiran’s role in “Fetching Tea.”

The scene returns to Akane and Ozaki/Jumbo, and Akane’s attempt is going very badly. She is acting overly cute and flirty, trying to play the kind of girl she thinks men like: someone who relates to them, listens well, and reacts with exaggerated interest. She laughs at what Ozaki says, asks “and then what happened?”, and tries to keep the mood going, but everything about it is forced. Internally, she admits that this is unbelievably awkward, but she refuses to give up until she understands the mindset of a manipulative oiran.

Ozaki finally stops her and asks what kind of act she is testing on him. Akane panics and pretends not to understand, but Ozaki immediately guesses that this is for some rakugo-related thing and that she is trying to learn a new trick. That puts Akane on the spot, because he is completely right. Her “date” is not really a date; it is an awkward experiment for her performance.

Akane then admits to herself that the whole thing is stupid. She realizes she will not understand what it is like to lead on a man if she gives away the game first, but Ozaki says she should have just told him. He asks what her plan would have been if he had actually fallen in love with her, which makes Akane panic and shout that was not her intention at all. Even so, Ozaki says that, in a way, he is relieved she has not changed. He can tell that beneath the strange flirty act, she is still the same reckless, earnest Akane he knew before.

Then Ozaki asks a more serious question: what is it like now that Akane is finally a professional? Akane answers honestly that it is hard, “really hard.” There is so much new material to learn, and she has met people like Rokuro and Urara, whose skill levels feel impossibly far beyond her current reach. Becoming a professional has not made her feel secure; it has made her realize how huge the rakugo world is and how much she still lacks.

Akane tells Ozaki that, despite how overwhelming the professional world has been, she is also grateful for the challenges. She thinks back to Issho telling her during the Karaku Cup that she did not belong there. At that time, she managed to make Issho acknowledge that she was not simply an amateur. But now that she has entered the professional rakugo world, she realizes she is still below where her father was when he was expelled, and nowhere near the standard required of an Arakawa shin’uchi.

That realization does not discourage her goal. Instead, Akane says that if she wants to become shin’uchi, she needs to become much better and much tougher. To her, discovering higher levels above her is not a reason to despair; it proves there is still more room to grow. Ozaki notices that even after learning the reason behind her father’s expulsion, Akane’s goal has not changed at all. Akane answers that of course it has not.

Ozaki then brings the conversation back to her current plan and points out how strange it sounds: her way of learning a new skill is to go on a date. Still, he agrees to help and says they might as well go out and get some practice in. Akane brightens up and switches back to calling him Jumbo, while he warns her not to repeat the unnatural flirty act from earlier because it was weird. Akane admits that she knows.

In practice, their “date” just becomes a normal fun day together. By the end, they end up at Umi, and Akane is gloomy because nothing about the day feels like it solved her problem. Ozaki points out that spending time together like that is basically what a date is, but Akane says that does not help her. She is still fixated on the fact that passing Urara’s “Fetching Tea” test depends on being able to perform the oiran properly.

Akane starts thinking that maybe there is no way to understand the oiran’s mindset without actually seducing a man, but Ozaki immediately shuts that down and tells her she does not have to do that. He admits he is not a rakugo expert, but he knows Akane’s rakugo is intense and serious. From his perspective, she always puts a huge amount of work into each performance, to the point that she can seem like a completely different person onstage.

Ozaki then suggests something simple: maybe she should just act really well. Akane rejects that at first because that is exactly what she feels unable to do. She says the first time she performed the oiran, Urara simply laughed at her, so ordinary acting is not enough. The exchange shows the gap between Akane’s usual strength and her current wall: she can work hard, memorize quickly, and throw herself into a role, but she has not yet found the emotional or performative “hook” that makes this particular oiran believable.

Ozaki’s simple comment ends up giving Akane the clue she needed. When he says that maybe “acting really well” is the answer, Akane pushes back because she feels that is the exact thing she cannot do with the oiran. But Ozaki points out something she had been missing: when Akane first tried performing the oiran, Urara laughed. Akane immediately reacts because that is supposed to be a good thing in rakugo. Her oiran made Urara laugh, and laughter is the effect Akane is ultimately trying to create. Ozaki does not fully understand rakugo technique, but from the outside, he can see that Akane may be rejecting something that actually worked.

That forces Akane to reinterpret Urara’s earlier words. When Urara said “the story and teller aren’t suited for one another,” Akane first took it as a failure: she thought it meant she lacked the right personality, sensuality, or life experience to play the oiran properly. But now she begins to understand that Urara may have been pointing her toward a different solution. Akane should not simply copy Urara’s oiran. Urara’s oiran is overwhelming, sensual, and dangerous, but Akane’s version may need to become something else because Akane herself is different.

The scene then returns to Akane’s recital practice with Urara. Before Akane performs, Urara asks about the date, almost teasing her by asking whether she “spilled the tea.” Akane explains that they basically just went to a restaurant and hung out. Urara says it sounds like Akane had fun, but the mood immediately becomes serious again. She reminds Akane that if she cannot demonstrate mastery of “Fetching Tea” that day, she will not be allowed to perform at Rokuro’s event.

Urara makes it clear that she is not going to be gentle with Akane. She says she is not there to coddle her, and if Akane cannot perform at the level she expects, she will fail her without hesitation. This matters because Urara’s teaching is not just a favor or encouragement. She is testing whether Akane can take a difficult, ill-suited story and make it her own under real professional pressure. Akane accepts the condition and prepares to show Urara her “Fetching Tea.”

The chapter then jumps to Mitsugo Hall, where Rokuro’s Rokumeikai neta-oroshi event is being prepared. The staff say the lights and sound are both good, and they are getting ready for the main event. Rokuro is there in casual clothes with headphones around his neck, calm and focused before the performance. This is the event Akane has been trying to reach all along: the place where she needs to prove she belongs, despite the trouble she caused earlier.

Akane arrives out of breath and apologizes to Rokuro, saying her recital took longer than expected. Rokuro tells her that is fine because Master Hassho has not arrived yet anyway. Then he asks the important question: did she master “Fetching Tea”? Akane answers clearly: yes, she has it down.

The key reaction comes from Urara. She tells Mayura that all her concern was for nothing, but then admits she is genuinely amazed. What surprises her is that Akane’s performance was somehow very similar to Urara’s version, yet also very different from it. That means Akane did not simply abandon Urara’s teaching or turn the story into something unrelated. She absorbed Urara’s structure and influence, but found a way to bend the oiran into a form that fits Akane’s own rakugo.

The final page brings Akane to the stage. She thinks that this is finally the starting line. Her immediate goals are clear: she has to meet Rokuro ani-san’s expectations and earn Master Hassho’s respect. Those two figures represent the two pressures pushing her forward right now: Rokuro gave her the opportunity to perform, while Hassho is the senior master whose trust she damaged through her reckless use of “Sango-Jigo.” Akane steps forward in kimono, ready to begin, and the chapter ends right as her performance starts.

Chapter 47
The chapter opens with the title “Fetching Tea,” confirming that this chapter is centered on Akane’s performance of the story she learned from Urara. At Mitsugo Hall, the audience is already seated, but Rokuro explains backstage that the opener is going to take a little extra time. He apologizes for the inconvenience, but Master Hassho tells him it is all right because he has already accepted the situation.

Hassho then reveals that Akane came to him earlier and explained everything that led to this moment. She told him about the circumstances surrounding her mistake, the situation with Rien, and what she has been trying to do since then. Hassho admits that he was surprised; he had scolded her harshly once before, and he would not have been shocked if Akane resented him for refusing to approve of her behavior.

Rokuro sympathizes with Akane because Hassho’s earlier criticism was severe, but Hassho says he can tell Akane genuinely knows how to listen and learn. This is important because Hassho’s issue with Akane was never just that she talked back to Rien. His real problem was that she used rakugo recklessly, as a weapon for revenge rather than as an art meant to serve the story and audience. If Akane now understands why he was so hard on her, Hassho wants to see that understanding proven through her performance.

Hassho says he plans to watch Akane from the wings. He does have concerns, and he admits he had his reasons for being strict with her, but he hopes those concerns turn out to be unfounded. Rokuro tells him that he will get his answer when he sees her perform. This makes Akane’s stage appearance feel like a direct test: she is not just performing “Fetching Tea” for the audience, but also showing Hassho whether she has matured as a rakugoka.

Akane then walks onto the stage in kimono, carrying herself with a noticeably calm and polished presence. The audience watches as she takes her place, and the setup emphasizes the pressure on her: Rokuro gave her the opportunity, Urara approved her “Fetching Tea,” and Hassho is now watching to judge whether she truly learned from her mistake.

Akane begins by introducing herself as Akane Arakawa. She smiles warmly and asks the audience to stick around and listen to her story today. One audience member, likely Kashio, reacts with interest and wonders what Akane has come up with. The chapter is now set for Akane’s actual performance, with the question being how her version of “Fetching Tea” will differ from Urara’s and whether it can earn Hassho’s respect.

Akane begins “Fetching Tea” almost exactly the way Urara did. She opens by explaining the rakugo phrase “going inside,” saying that in this story it refers to Yoshiwara, the walled brothel district of the Edo period. She then explains the basic social setup: Edo men went there to prove their manhood, but prestigious oiran had the right to refuse customers, so even a man with money could strike out if the courtesan disliked him.

From there, Akane moves into the story itself. She introduces the premise of some young men from town who recently went “inside” for the night. One man admits that the night went terribly and that he was turned down. Another man mocks him as a “sad sack,” but the first man tries to protect his pride by claiming the opposite: according to him, the ladies actually “can’t get enough” of him.

The important thing is that Akane’s delivery is being compared directly to Urara’s. Someone watching notes that she speaks exactly as Master Urara does. This confirms what Urara noticed at the end of Chapter 46: Akane’s version is rooted very closely in Urara’s format. The observers already knew Akane had unusually high technical skill for a zenza, but copying this much of Urara’s rhythm, structure, and tone in less than a month is still treated as a major leap.

However, the real test has not arrived yet. The story reaches the part Akane had been struggling with: the man says a woman took one look at his face, screamed, and ran down the hall. After a few minutes, he is sent into a room, and the same woman is sitting there calmly, waiting for him. The man asks why she screamed the moment she saw his face. This is the setup for the oiran’s first major appearance, meaning Akane is now entering the exact role that did not naturally suit her.

The audience is drawn in by the setup, and even the people watching critically can tell Akane has performed a “perfect copy” so far. But that only raises the pressure. Copying Urara’s narration and setup is one thing; playing the oiran is the real problem. Everyone is essentially waiting to see whether Akane can solve the mismatch between herself and the character, or whether the performance will collapse once the sensual courtesan takes over the story.

Akane finally delivers the oiran’s line: “Let’s not rush things by sleeping together on the very first night. Will you hear my story first?” This is the same key moment Urara performed with overwhelming sensuality, but Akane’s expression and tone appear different. Instead of attempting to replicate Urara’s "courtesan from hell" persona, Akane infuses the oiran with a softer, more playful, and slightly awkward charm that aligns more naturally with her own personality. This marks the beginning of Akane’s distinct approach: while she retains Urara’s foundational structure, she filters the character entirely through her own style of rakugo.

Akane’s oiran finally appears, and the room immediately realizes something is strange. After the long pause, the audience expects her to follow Urara’s model: a seductive, overwhelming oiran who pulls everyone into Yoshiwara. Instead, Akane’s delivery creates an awkwardly young, almost innocent version of the same woman. The result is so unexpected that Kashio is stunned and wonders if Akane really took lessons from Master Urara just to perform the oiran this way.

Kashio tries to rationalize it as a fluke. Since Akane had copied Urara so faithfully up to this point, he assumes that maybe the first oiran line simply missed, and that the next important moment will bring the performance back toward Urara’s sensual style. But Akane continues the story without changing course. The oiran explains that she came to Tokyo after eloping with a man, sold herself to the brothel to help fund his business, and then lost him when he fell ill and died. Three years later, the visiting man arrives, and the oiran tells him he looks exactly like the man she loved.

That emotional setup is still the same as Urara’s version, but Akane’s oiran makes the same lines land differently. When she says the man is the “spitting image” of her lost lover, the audience reacts badly at first, thinking the performance is still “terrible.” The lines are supposed to be alluring and tragic, but coming from Akane, they feel too young and too cute to carry the same adult sensuality.

Then Akane turns that mismatch into the joke. The oiran tells the man that she wants to support him from now on and give him everything, asking whether he will keep visiting her. The man eagerly accepts, saying he would love to keep coming back. Instead of continuing the seductive mood, Akane’s oiran suddenly snaps back with a blunt “Why would you?!” The hall explodes with laughter because the same setup that was sensual in Urara’s hands becomes comical in Akane’s.

The observers realize what Akane has done. Her performance is still very faithful to Urara’s “Fetching Tea” in structure, wording, and rhythm, but Akane’s youth changes the meaning of the oiran’s lines. Because her technical skill is far beyond her age, she can copy Urara’s framework closely while making the character feel totally different. Rather than trying and failing to become Urara’s dangerous, adult oiran, Akane uses the fact that she does not suit the role to create a uniquely funny oiran only she can perform.

As Akane’s performance continues, even the observers realize that “Fetching Tea” feels completely different in her hands. She has not abandoned Urara’s version, but she has found a way to make the mismatch between herself and the oiran work as comedy.

Meanwhile, Rokuro receives a call from Urara, who says she thought he might be worried about Akane performing the story. Rokuro admits he did have concerns, but Urara tells him not to worry. She says Akane has found the answer to why Urara chose to teach her “Fetching Tea” in the first place. This confirms that Akane’s strange, younger, funnier oiran is not a mistake. It is exactly the path Urara wanted her to discover.

Chapter 48
Akane’s answer to Urara is that she will not try to force herself into Urara’s seductive oiran style. When Urara asks if that is really how she plans to play the oiran, Akane says yes, because she has figured it out. Her guiding idea is simple but strange-sounding: “The story is your friend.”

Back at Rokuro’s event, Akane continues the oiran scene. The man eagerly accepts the oiran’s invitation to keep visiting, and the oiran then says that in March of the next year, once her term at the brothel ends, she wants to live with him and lead a normal domestic life.

Akane delivers the oiran’s marriage-like appeal in a cute, awkward, youthful way: “Would you take a woman like me… to be your wife?” The audience eats it up, with one man basically reacting like he would be crazy to refuse her. But from a rakugo perspective, this is the total opposite of Urara’s oiran. It is funny, but not cool or refined in the traditional oiran sense. Kashio notices this and wonders why Akane chose such an approach.

The answer comes from Akane’s date with Ozaki. She explains that she tried researching how to entice a man and even went on a date to understand the oiran’s mindset, but none of that worked. What helped was when she stopped overthinking and simply spent time normally with Ozaki. That ordinary fun gave her an idea: instead of trying to “become” a perfect oiran, she could use the story’s situation itself to make her own mismatch funny and charming.

Akane’s answer is that rakugo and people are similar: how you approach them changes depending on how well you know them. Right now, she cannot fully understand the oiran’s mindset, but if she keeps performing “Fetching Tea” for years, her view of the oiran will gradually deepen. That will change her relationship with the story and change how she performs it. In other words, this current version is not Akane’s final answer forever. It is simply the best version she can give right now.

That is why she calls the story her friend. She is not treating “Fetching Tea” as something she has to conquer immediately or imitate perfectly. She is treating it as something she will keep living with, learning from, and growing alongside. Urara reacts with amusement, saying she cannot tell whether Akane is exceptionally smart or exceptionally dense.

On the phone, Rokuro asks Urara why she taught Akane “Fetching Tea.” Urara says she had two reasons. First, she wanted to see whether Akane could honestly assess herself and match her own strengths to the story she was performing. Since Akane passed, Urara accepts that she met the bar.

Rokuro then asks why Urara does not choose more stories to teach Akane. Urara says no, because she has already given Akane the best one she can. Her second reason is revealed clearly: among all kuruwa-banashi, nothing suits Akane better than “Fetching Tea.”

Akane reaches the twist of “Fetching Tea.” After the man says he would gladly make the oiran his “little lady,” she seems so moved that she starts crying. But then he notices something strange: a small “mole” suddenly appears beside her eye. When he looks closer, the “mole” starts sliding down her cheek. It turns out it is not a mole at all, but a bit of tea leaf stuck to her finger. The oiran had a cup of tea beside her and was using the tea to fake her tears. Her entire tragic sob story was a lie.

That reveal completely changes how the audience understands Akane’s performance. The oiran was never supposed to be a perfect, tragic, seductive beauty all the way through. The whole point of the story is that the second half begins after her trick is exposed. Once the audience realizes she has been faking her tears with tea, Akane’s earlier “goofy” version of the oiran suddenly makes sense. What looked like a weakness now becomes setup.

This is the clever part of Akane’s answer. If she had tried to copy Urara’s dangerous, bewitching oiran exactly, she would have been fighting against her own nature. Akane does not have Urara’s mature allure, and she cannot naturally tease, flirt, or seduce men the way Urara’s performance can. But Akane does understand what it feels like to be awkward, impulsive, and a little messy. So instead of playing the oiran as an untouchable femme fatale, she plays her as a screwup who is trying very hard to act like a master manipulator.

That gives the story an extra layer of credibility. Akane’s oiran feels clumsy because she is clumsy. She is not a flawless seductress; she is someone whose trick can fall apart because of something as silly as a tea leaf stuck to her finger. That means Akane’s youthful awkwardness does not break the story. It actually supports the punchline. Her version makes the audience believe that this oiran really would mess up her own scheme in such a ridiculous way.

Akane’s earlier idea comes back here: “The story is your friend.” By being honest about what she can and cannot do, she stops treating “Fetching Tea” as an enemy she has to force herself to conquer. The story starts helping her instead. She cannot perform Urara’s oiran, but she can perform this oiran: a funny, flawed woman whose failed act matches Akane’s own current stage of life.

So Akane’s solution is not to erase the mismatch between herself and the role. It is to turn that mismatch into the center of the performance. Her version of “Fetching Tea” proves that she listened to Urara, understood the story’s structure, and still found a way to make the story belong to her.

 

[Daniel]

Chapter 49
Akane’s “Fetching Tea” continues after the reveal that the oiran’s tears were faked with tea rather than genuine emotion. The audience reacts strongly to the absurdity of an oiran using tea stuck near her eyes as part of a trick, and the story shifts into the aftermath of her failed deception. Within the performance, the man who was fooled says he wants nothing more to do with the oiran, but another man becomes interested in visiting her instead.

The scene then cuts to Urara and Mayura riding in a car after the performance. Mayura is surprised that Urara chose to pass Akane’s version of “Fetching Tea,” since it resembles a more refined version of the awkward attempt Akane made during her first practice session with Urara. Urara explains that the important issue is whether the performer can intentionally deliver what they are trying to create. Akane’s first attempt failed because she was trying to imitate Urara and ended up creating something different, but this time she reproduced that difference deliberately.

Urara says Akane also added a “flavor” that she personally found pleasing. She explains that the real appeal of “Fetching Tea” lies in what happens after the oiran’s trick is exposed, shifting attention back to whether Akane can properly convey the second half of the story.

Akane’s performance resumes with the man confronting the oiran. The oiran points out that he screamed the moment he saw her face, and he apologizes before asking her not to rush things and to hear his story. He then begins his own emotional tale, claiming that he came to Tokyo after eloping with the woman he loved, and that she sold herself to a brothel to raise money for him to start a business.

Akane’s “Fetching Tea” continues with the man finishing his false emotional story. He claims that the woman who helped him start his own business later fell ill and died, and that three years later he has now met the oiran, who supposedly looks exactly like her. This mirrors the oiran’s earlier lie about him resembling her dead lover.

The oiran quickly realizes what he is doing. When the man tells her that she is the spitting image of the woman he loved, she recognizes that he is turning her own words back against her. Although she becomes visibly angry, the man pretends not to understand what is wrong and innocently asks whether he said something strange.

The oiran forces herself to stay composed, and the man continues his act. He says he wants to keep visiting and supporting her, then asks whether she would entertain a visitor like him. The oiran, now realizing that she has been cornered, puts on a smile and tells him that he may visit her whenever he likes.

The man pushes the joke even further. He happily says that once the oiran’s service ends the following March, he would like her to come live with him. He begins to ask whether she would become his wife, but before he can finish, the oiran silently gets up and walks away. The man calls after her, asking where she is going.

Rokuro watches Akane’s “Fetching Tea” and recognizes that the story now echoes Akane’s earlier clash with Rien. The quarrel over old tea leaves, the exchange between men and an oiran, and the way the situation turns into a battle of words all remind him of the unpleasant experience Akane went through backstage. However, Akane is no longer simply carrying that memory as a failure. Through this performance, she has taken what happened with Rien and reshaped it into material she can use onstage.

Rokuro realizes that this is why Urara chose “Fetching Tea” for Akane. Even though the memory behind it was unpleasant, Akane learned from it and transformed it into her own weapon. In the story, after the man pushes the oiran too far, she leaves to get more tea, turning the title itself into the punchline. Akane delivers the ending with confidence, presenting the oiran as a girl who may fall down but always gets back up again because of her stubborn, resilient spirit.

Akane finishes the story by saying that this was “Fetching Tea” and thanks the audience. The hall breaks into applause, and the reaction confirms that her version has landed successfully. Rokuro and the others watch from backstage as the performance ends, while Hassho asks whether his concerns about Akane have been addressed.

Hassho admits that he underestimated Akane. He had not expected her to polish the story to such a level, and he acknowledges that his worries have been answered. Rokuro then says that the only person who foresaw this result was Urara herself.

Rokuro explains that Urara always begins from “checkmate” and works backward, planning from the final outcome she wants to create. At the same time, her plan could only succeed because Akane had the potential to meet that vision. Rokuro says Akane and Urara have truly done a number on him, and the chapter closes by describing both of them as very willful women.

Chapter 50
The chapter opens with a news article about the Rokumeikai event already circulating two days after it happened. The article presents the event as a meeting point between tradition and progress, highlighting Akane’s appearance as the zenza and noting the attention surrounding her performance of “Fetching Tea.” While Akane sits with her friends, they ask whether she is worried about being singled out by the attention again.

Akane says the situation has actually been the opposite. Since the article came out, people have been much nicer to her, and she is receiving more opportunities to perform. One of the people around her assumes that being invited to perform at Rokuro’s event helped her move past the controversy caused by her earlier clash at Yasaka-tei. Akane thanks them for their help, but they point out that the article says Akane was not the one who received the greatest applause.

The article states that the biggest applause of the day went to Rokuro Kashiwaya. Akane apologizes, especially because she had learned “Fetching Tea” from Urara, but the others tell her not to worry. The conversation then shifts to Hassho, and Akane confirms that he is going to teach her a story next. She says she plans to go to his place later that day for a lesson.

Akane’s friend understands that Akane wants to increase her repertoire of zenza-banashi, but questions whether she truly wants to learn Hassho’s “Hirabayashi” that badly. Akane becomes embarrassed by the teasing, but she begins explaining that her reason goes beyond simply wanting another story for practical use.

Akane says she is not surprised by Hassho’s strictness because she actually gets scolded often. She has received her share of harsh comments from senior rakugoka, but the harsher the advice was, the more clearly she could tell that those people had her best interests in mind. Because of that, Akane says that even more than wanting to learn a story from Hassho, she wants to prove to him that she is worthy of being taught by him.

Akane says that if she cannot prove herself worthy of being taught, she will not be able to progress as a rakugoka. Her friend tells her that she has already said what she needed to say and should go practice, but Akane insists there is one more thing she wants to discuss. When asked what she desires, Akane brings up Urara Ransaika’s ambition: for the name “Urara Ransaika” to leave a mark on rakugo history as a myoseki.

The narration explains that myoseki are the names of especially renowned rakugoka that are inherited and reused within their schools for later generations. The discussion then connects this to the history of women in rakugo. The first female shin’uchi only appeared in the Heisei era, and there are still no myoseki that bear the names of female rakugo performers. Urara’s goal is to become the first woman whose name reaches that level.

Urara views having her name become a myoseki as the highest prestige a female rakugoka could seek. To her, it would also be the best possible answer to everyone who said that women could not do rakugo. Akane is struck by the scale of that ambition and imagines a future where “Akane Arakawa” also becomes a myoseki, immediately thinking that the idea is incredibly cool.

Akane’s friend notices exactly what she is thinking and calls her out for wanting to do the same thing. Akane is startled, while her friend says she has never seen someone react that way before. The conversation then begins shifting toward what it would actually take for Akane to turn her own name into a myoseki.

Urara tells Akane that if she wants her own name to become a myoseki, she needs to understand who she must surpass. She says Akane should at least become the best performer of her generation, and if Akane wants to compete, her opponent should not be Urara but Kaisei. Urara identifies Kaisei as the only younger-generation rakugoka who truly frightens her.

Akane accepts Urara’s point and says she understands. Before the conversation can go further, her friend reminds her that she is supposed to visit Hassho, and Akane suddenly realizes she needs to leave. She hurries out while thanking Urara, who watches her go.

As Akane leaves, Urara continues thinking about Akane’s desire to become a myoseki. She notes that chasing such a goal could lead to a permanent parting of ways, suggesting that Akane’s ambition may eventually force her onto a difficult path with serious consequences.

Akane then arrives for her lesson with Hassho. When Hassho asks whether she is ready, Akane answers that she is fully prepared. Before beginning, Hassho gives her a brief warning about what it means to receive a rakugo story from someone else. He explains that he is taking a story that has been refined over dozens, if not hundreds, of hours and passing it on to a new generation free of charge.

Hassho continues explaining the weight of receiving a rakugo story from another performer. He says this is how rakugo has been passed down through the ages, with one performer entrusting refined material to the next generation. Akane will learn many stories this way over her lifetime, so Hassho wants her to remember the effort and time hidden behind each one, even when that work is not visible to the audience.

Akane responds by saying she understands. When someone nearby comments that nobody wants their friend treated badly, Akane bows deeply and says she will practice with humility and do her best. Hassho accepts her answer and begins the lesson.

The scene then shifts back to Urara, who is asked what she thinks of Akane. Urara says Akane is “on the hook” and that she will keep her around depending on how she develops. She then repeats her belief about succession: she does not care who inherits her name as long as they are good enough, and if necessary, someone could even take a myoseki from a different school.

Urara then reveals who she is really addressing: Hikaru Koragi. Her words imply that Hikaru herself could potentially inherit the name “Urara Ransaika” if she became worthy of it.

Hikaru politely corrects Urara, saying that when she is acting as a rakugoka, her name is Hikaru Arakawa. Urara asks whether Hikaru is sure she did not want to see Akane again, but Hikaru says there is no need to rush because she will be facing Akane again very soon.

Chapter 51
The scene then transitions to Bar Meguru, shifting the focus to Kaisei’s past.. A conversation at the bar mentions that someone will cover for Takako nee-san that day, and the speaker asks who will serve as the opener before deciding that the situation is “perfect.” The chapter title is “Goldfish,” and the scene connects that title to a drink order: a “goldfish,” a cocktail made with shochu, shiso leaf, and a whole red pepper.

The story then moves into Kaisei’s childhood at the bar. A regular customer appears again, and young Kaisei immediately reacts with hostility, thinking that he hates the man. The man always sits in the corner, orders the same strange off-menu drink, and then leaves without paying by telling Kaisei’s mother to put it on his tab.

Kaisei complains to his mother that the man never pays, but she casually says it is fine and that he will pay eventually. Kaisei pushes back, asking whether she even understands how large the man’s unpaid tab has become. When his mother jokingly guesses the size, Kaisei becomes angry and says that if she is going to go through the trouble of making such fussy drinks, she should at least make sure she gets money for them.

His mother apologizes but continues to reassure him by saying that everything will be fine. Kaisei explains that “it’s fine” is his mother’s motto. She uses the same phrase whether he has scraped his knee at the park or whether she is exhausted from a hangover, making it clear that her easygoing optimism is a central part of how he remembers her.

Kaisei’s recollection of his mother continues by showing that her “it’s fine” attitude covered more serious problems than everyday injuries or hangovers. She said the same thing when Kaisei’s father stopped paying child support, when she was forced to take over the bar herself, and when people made cold comments about her working nightlife. No matter the situation, she repeated that everything would be fine.

His mother explains her outlook through the saying that fortune and misfortune are intertwined. She tells Kaisei that bad things happen, but good things happen too, and he notes that she always smiles while saying that it will be fine. To Kaisei, she is the kind of person who can keep smiling even when everyone else already understands how hard things are for her.

The memory then shifts to his mother in the hospital. Even after her health fails, she insists that she is fine and says the condition is not serious, only that she needs rest because she worked too hard. When Kaisei looks upset, she apologizes and tells him not to look so sad, again reassuring him that everything will be fine.

Kaisei says that he learned something when his mother’s health collapsed. He tries calling his father, but the number is inactive. Before that, Kaisei had believed he could help his mother when she needed it, but reality proves otherwise. As bills pile up, an adult tells him that despite his problems, the bar is still a business and the bills must be paid. Kaisei realizes that he is still only a child, weak and powerless, unable to protect his mother or support her the way he wanted to.

Kaisei’s memory continues from the moment he feels crushed by his own powerlessness. Sitting beside his hospitalized mother, he cannot even bring himself to copy the comforting attitude she always showed him. His mother notices his sadness and asks what is wrong, but Kaisei can only think that he could not learn from the example she set. He cannot smile, reassure her, or tell her that everything will be fine simply to make her feel better.

At that moment, the regular customer from Bar Meguru arrives at the hospital room. Kaisei immediately recognizes him as the man with the huge unpaid tab and wonders why he is there. The man says he heard that Kaisei’s mother was not doing well and came to check on her. Kaisei’s mother is embarrassed to be seen in that state and tries to sit up, but the man tells her not to move. He says he came only to pay his tab.

The man hands over a bag of money and says that he does not know exactly how much he owes, but that the amount should cover it. If there is any extra, she can consider it an advance payment on his next tab. Kaisei’s mother is shocked by how much money he brought and asks why he would give her so much. The man clarifies that the money is not really for her. It is for the “goldfish” she serves at the bar, because he needs her around so he can keep drinking his favorite drink.

His words immediately lift Kaisei’s mother’s spirits. She thanks him while holding back emotion, and the man tells her she looks much better than before. Then he says she should be fine now. For Kaisei, this moment is overwhelming because the man has managed to do what Kaisei could not: he gives his mother reassurance in a way that genuinely reaches her.

Following their departure from the hospital room, Kaisei pursues the man to ask how he managed to acquire such a significant sum of money, eager to discover his profession. The man simply responds that his job involves sitting on a cushion and speaking. As Kaisei struggles to grasp the concept, the man clarifies that this straightforward act is indeed his livelihood, and a lucrative one at that, for a rakugoka. This moment unveils the mysterious customer's connection to rakugo, revealing him to be none other than Issho Arakawa, the headmaster of the Arakawa School.

That encounter became the turning point in Kaisei’s life. He had felt weak and powerless because he could not protect or support his mother, but after learning what Issho does, he realizes that rakugo can be a weapon. In the present, Kaisei thinks that he is no longer powerless because he now has the weapon he gained that day.

The scene then returns fully to the present, where Kaisei is looking at reports about the Rokumeikai. The article features both Akane and Hikaru, linking their recent progress to the competitive pressure around him. Kaisei thinks that he has no intention of letting anyone beat him. For him, the only thing that matters is the art itself.

Elsewhere, Akane performs “Hirabayashi,” the story she sought from Hassho. She reaches the end of the piece and presents it as the familiar story of “Hirabayashi.” Kaisei is also present at the venue, holding his phone and observing the situation.

As Akane leaves the stage, she notices that more and more people are flooding into the venue. She is confused by the unusually cold reception and wonders what is happening. Kaisei then appears and tells her that the atmosphere is especially cold for someone like him, since he has come bearing fascinating news for her.

 

[Daniel]

Chapter 52
The chapter shifts from Kaisei confronting Akane to an interview with Master Ikken. The interviewer thanks Ikken for agreeing to speak with him, but Ikken casually brushes off the formalities, saying they have known each other for years. Their conversation turns to the Arakawa school, which Ikken says is clearly rising in influence. He remarks that the school’s momentum feels almost limitless.

The discussion focuses especially on Kaisei. Ikken says that in terms of popularity and influence, Kaisei is beginning to rival Kashiwaya’s own “wonder child.” Kaisei is only twenty-one years old and has been with the Arakawa school for just four years, yet some people already believe he could become the youngest shin’uchi since World War II. When the interviewer asks if Kaisei is truly that special, Ikken answers without hesitation that he is.

The scene then returns to Yasaka-tei, where Akane reacts to Kaisei’s promise of “fascinating news.” Kaisei does not explain immediately because he is about to perform. He tells Akane to stay until his performance ends, saying he will tell her afterward. As he leaves for the stage, people nearby react with surprise that Kaisei is actually appearing at Yasaka-tei, since he has reportedly been so busy with other work that he has been turning down usual hall appearances.

Backstage, one older performer laughs while thinking about how much Kaisei resembles Issho. When another person assumes he means their appearance, the older performer denies it and says he is talking about Kaisei’s eyes. He explains that Kaisei has the same look in his eyes that Issho once had.

The narration emphasizes the comparison further, describing Kaisei’s gaze as the eyes of a wild beast baring its fangs at its prey. This frames Kaisei not only as talented, but as someone with the same dangerous hunger and predatory intensity that once defined Issho. Akane watches him closely as he prepares to face the audience.

Kaisei’s entrance immediately changes the atmosphere of the hall. The applause is enormous, and Akane is startled by how powerful the reaction is. Audience members keep flooding in, and people backstage explain that they have all come specifically to see Kaisei. His popularity has exploded over the past year, though the others note that drawing crowds that large comes with both benefits and drawbacks.

Kaisei begins his performance, and the atmosphere around the hall is immediately described as intense. The others explain that Kaisei’s performances “always get crazy,” showing that his appearances have a reputation for pulling the audience into a heightened state. Kaisei calmly asks the crowd to stay and listen to his story, then begins a tale set in Shichiken, Nezu, about a shamisen master named Toyoshiga, who is famous for her hatred of men.

The story then introduces a stormy evening when Toyoshiga allows her apprentice, Shinkichi, to stay overnight in her home. Toyoshiga calls out to Shinkichi and asks if he is asleep. When he cannot sleep because of the gloomy rainy night, she answers that she cannot sleep either, creating an intimate and uneasy atmosphere between master and apprentice.

Kaisei performs Toyoshiga’s invitation with striking sensuality. As Toyoshiga tells Shinkichi to come closer and keep her bed warm for the night, the crowd reacts strongly. Akane watches from the side and realizes that the audience response reminds her of what she heard about Kaisei’s earlier performance at the rakugo café.

Akane recognizes the nature of Kaisei’s talent: it lies in seduction. The effect should be familiar to her from what she has already heard about him, but seeing it directly still shocks her. Kaisei’s stage presence is not just popular because of charm or fame; he can create an atmosphere that draws the audience toward him and makes the emotional pull of the story feel immediate.

Kaisei continues the story by explaining that Toyoshiga is thirty-nine while Shinkichi is only twenty-one. They are far enough apart in age that they could almost be mother and son, but he says that human hearts can work in mysterious ways. Their lives become intertwined, and they eventually settle down together happily. However, not all was well in Toyoshiga’s mind.

Kaisei’s performance continues by moving into Toyoshiga’s growing insecurity. Although Toyoshiga and Shinkichi have settled into a relationship, her peace of mind begins to collapse when another apprentice, an eighteen-year-old girl named Ohisa, starts spending time with Shinkichi. Toyoshiga fixates on the closeness in their ages and fears that Ohisa will take Shinkichi away from her. Her fear gradually turns into jealousy, deepening the ominous mood of Kaisei’s story.

The chapter then cuts back to the discussion about Kaisei himself. The question is raised again: what exactly makes Kaisei so special? One speaker explains that the answer connects to Issho Arakawa’s larger ambitions. Issho’s plan is to cultivate young talent strong enough to break the rakugo world’s rigid seniority system, and Kaisei was built up specifically to advance that goal. In that sense, Kaisei is not only Issho’s disciple, but an embodiment of Issho’s ideals.

The speaker adds that this plan only works because Kaisei has the talent to justify it. His rapid rise in the rakugo world is not just the result of favoritism or Issho’s backing; he has the skill to support the expectations placed on him. Because of that, however, Kaisei cannot afford to lose. Even if he does not openly admit it, his position forces him to treat failure as unacceptable.

The conversation then turns toward the people being compared to Kaisei and the younger talents beginning to rise behind him. Although Kaisei does not show it on the surface, those rivals are described as eyesores to him, people he cannot wait to remove from his path. The speaker notes that Kaisei hides all of this beneath his composed exterior, making his competitiveness more dangerous because it is not immediately visible from looking at him.

Kaisei’s performance continues while the narration compares his hidden nature to Toyoshiga’s jealousy. Although Kaisei usually presents himself with a cheerful, friendly mask, the chapter suggests that something far more dangerous is hidden beneath it. In the story he is performing, Toyoshiga’s jealousy toward Ohisa becomes so intense that it begins to show physically, with small growths appearing around her eye. When she scratches at them, the irritation worsens instead of going away.

The illness spreads further as Toyoshiga’s condition deteriorates. The growths become dark, bloody, and infected, showing how her jealousy has turned into something grotesque and uncontrollable. When Toyoshiga falls seriously ill and becomes bedridden, Shinkichi remains by her side to care for her.

From her sickbed, Toyoshiga calls out to Shinkichi and reveals the depth of her obsession. She tells him that if he leaves her to be with Ohisa, she will never forgive him. Kaisei delivers this part with unnerving intensity, and the narration connects Toyoshiga’s curse to Kaisei himself. A fellow student of the same master explains that behind Kaisei’s smiling, friendly expression, there is something terrifying hidden underneath.

Kaisei then voices Toyoshiga’s threat directly: if Shinkichi abandons her, she will haunt him until the day he dies. His expression becomes almost demonic as he delivers the line, turning the performance from seductive and atmospheric into openly frightening. The earlier description of Kaisei’s talent as “seduction” now expands into something darker, because he can also pull the audience into fear and obsession.

The chapter ends by emphasizing that the public still does not understand the full extent of Kaisei’s danger. While the audience watches, Akane senses the oppressive force of his performance, and the narration states that the terror hidden inside Kaisei goes much further than anyone realizes. Kaisei sits alone onstage, surrounded visually by a dark, monstrous aura, reinforcing that his friendly public persona conceals a far more ruthless and unsettling performer.

Chapter 53
Kaisei’s performance continues with Toyoshiga’s emotions erupting after the seductive opening of the story. Akane realizes that Kaisei deliberately constructed a severe contrast between his earlier sensual portrayal of Toyoshiga and this sudden emotional breakdown. By shifting so sharply from allure to anguish, he makes the full strength of Toyoshiga’s jealousy and desperation strike the audience at once. The effect is so powerful that the spectators appear completely overwhelmed, with even experienced viewers reacting uneasily to the atmosphere he has created.

The people around Akane begin discussing whether Kaisei may soon be promoted to shin’uchi. Some are stunned that a performer who has belonged to his school for only four years could already be considered for such a rank, while another performer nervously complains about having to appear onstage after him. An older rakugoka remarks on the frightening power of youth and explains that the Arakawa school promotes performers according to their ability. Under Issho’s system, Kaisei could therefore be selected for advancement ahead of people who have spent much longer in the profession.

This possibility makes Akane confront the scale of the challenge before her. Kaisei is not merely a talented performer whom other people have warned her about; he is a rakugoka close to her own age who has already earned Issho’s approval and risen near the top of his generation. Akane reasons that defeating or surpassing Kaisei could open her own path toward becoming a shin’uchi. Because of that, she believes he is someone she must eventually overcome, but watching him perform makes him feel like an enormous wall standing in her way.

Akane feels that Kaisei now seems even farther beyond her than before. She considers whether this is simply because he has improved so much during the past year, but concludes that the larger change has occurred within herself. Through her recent training and exposure to different rakugo styles, she has developed enough artistic understanding to recognize exactly what makes Kaisei’s performance extraordinary. She remembers once confidently declaring that she would catch up to him soon, but now understands that she made that claim without knowing anything about the true distance between them.

Kaisei continues the story by returning to Toyoshiga’s threat against Shinkichi. Her message is so frightening that Shinkichi flees to his uncle’s home in an attempt to escape her obsession. Later that night, the situation becomes even more horrific when Toyoshiga tears open her own throat and dies.

A letter is discovered beside Toyoshiga’s body. In it, she condemns Shinkichi as an unfaithful man and warns him against ever taking another wife. Toyoshiga promises that she will curse the first woman to death, then curse the next one as well, continuing through as many as seven wives. Her jealousy has therefore transformed into a curse that will pursue Shinkichi even after her death.

Kaisei’s story is identified as the horror-themed kaidan-banashi “Ghost Story of Kasanegafuchi Swamp: The Death of Toyoshiga.” The performance visually merges Kaisei with Toyoshiga’s vengeful spirit, showing the ghost embracing him from behind while he remains composed on the cushion.

The program moves on after Kaisei’s “Death of Toyoshiga,” with the evening schedule showing Akane’s “Hirabayashi,” Kaisei’s “Death of Toyoshiga,” and Kiryu Kenputei’s “Tenshiki.” Kiryu’s performance immediately shifts the mood in an exaggerated direction. After thinking that he had claimed earlier not to have “Tenshiki,” he reveals through his delivery that he actually loves the story, then shouts the line “You love Tenshiki!?” across the hall. His performance follows Kaisei’s heavy kaidan-banashi with a much louder and more comedic tone.

The backstage performers and audience members are still shaken by Kaisei’s previous performance. One person points out that the audience remains completely rattled by what Kaisei did, while another says that “Death of Toyoshiga” is not normally the kind of story someone would perform at that point in the show. Even so, they admit that Kaisei’s handling of it was brilliant, especially because he condensed such a massive story into the time slot he had. The other young performers are frustrated by the comparison, acknowledging that Kaisei has no more experience than they do but still feels impossible to compete with.

Kaisei then returns to Akane and apologizes for keeping her waiting. He asks whether she at least enjoyed the show, but Akane stays tense and does not answer casually. Instead, she cuts straight to the point and tells him not to waste time, asking what he wanted to tell her.

Kaisei explains that Master Ikken is organizing a four-person event made up of Arakawa school futatsume who are expected to lead the next generation. Three of the four performers have already been chosen. The first is Yuzen Arakawa, the apprentice of Master Zensho.

Kaisei then reveals the second participant: Koguma Arakawa, Shiguma’s apprentice. Akane is shocked to hear Koguma’s name involved in the event. Kaisei names himself as the third participant, meaning the lineup currently consists of Yuzen, Koguma, and Kaisei. He then points out that one slot remains open.

Kaisei reveals that the fourth and final slot in Ikken’s four-person event will not be assigned directly to another futatsume. Instead, it will be awarded to the first-place finisher at the Arakawa School Zenza Renseikai, a summer training competition for the school’s zenza that will be judged by Ikken Arakawa. This means Akane has an opportunity to win the remaining place and appear in the same event as Koguma, Yuzen, and Kaisei.

Akane is left speechless as she absorbs what the competition could offer her. If she wins the Renseikai, she would be able to perform in a major four-person event alongside two established futatsume from the Arakawa school and Kaisei himself. Kaisei watches her reaction briefly, then says that telling her about the opportunity was all he came to do. He wishes her good night and begins walking away.

Akane stops him and addresses him respectfully as Kaisei ani-san. She thanks him for informing her about the Renseikai, but she cannot understand his motives. Kaisei has gone out of his way not only to tell her about the competition, but also to appear at Yasaka-tei and make sure she remained there until his performance ended. Akane directly asks why he is doing so much for her.

Akane also questions why Kaisei bothered to perform there that day rather than simply passing along the information. Kaisei tells her not to misunderstand his intentions: Akane herself is not what interests him. What he wants to see is the story she will tell. He then continues walking away, leaving Akane to consider both the coming competition and the expectations hidden behind his words.

Chapter 54
The chapter opens at Akane’s family restaurant, where Akane reads an article about the upcoming four-person event featuring futatsume who are expected to lead the Arakawa school in the next generation. The article reminds her of the opportunity Kaisei told her about: if she wins the Arakawa School Zenza Renseikai, she can claim the final slot in that event. Koguma says he did not know about this arrangement, while another person says he assumed Koguma had already been told because he had been invited to the event himself.

Koguma explains that Master Ikken appears to have everything planned out. The Renseikai is being used as an audition for the fourth seat in the futatsume event, meaning the competition is no longer only a normal internal training gathering. Akane then remembers that this is her first time participating in the Renseikai, so she asks what kind of event it actually is.

Koguma explains that the Zenza Renseikai is the Arakawa school’s special method of evaluating a zenza’s skill. Most people in rakugo do not judge performers only by their rank, but also by who their master is. Because the Arakawa school’s masters have unusually high public profiles by rakugo standards, their apprentices naturally receive attention simply by belonging to them. That attention can create bad habits, making some rakugoka complacent or lazy.

Because of that, the Renseikai functions as a test to keep Arakawa zenza sharp. It forces them to prove that they are not relying only on the fame of their masters or the school’s reputation. Koguma tells Akane not to take it lightly, and she understands that it is meant to keep apprentices on their toes.

The explanation then connects the Renseikai to promotion. To become a futatsume in the Arakawa school, a zenza must meet several requirements, including fifty performances, kodan historical stories, music and dance, taiko drums, and a recommendation from one of the Arakawa Arch Four who is not their own mentor. The Renseikai offers a major foothold toward that recommendation, because one of the Arch Four will serve as judge.

The flyer reveals that Ikken Arakawa will judge the Renseikai. For Akane, this means the event is not only a chance to win the remaining seat in the four-person futatsume lineup, but also an opportunity to show her skill to someone whose recommendation could help her future promotion. Koguma notes that, with so much already riding on the competition and now the added possibility of appearing in the separate futatsume event, this year’s Zenza Renseikai is certain to become fiercer than any previous one.

Koguma becomes visibly anxious as the discussion turns to the four-person event. He asks Akane to win the Renseikai, because the other confirmed participants are intimidating: Yuzen from Master Zensho’s place, which he calls a “lair of weirdos,” and Kaisei, whose presence alone makes the lineup feel difficult to stand beside. Koguma admits that he does not feel like he fits in with them and becomes gloomy at the thought of having to participate in an event with those kinds of performers.

Akane answers Koguma’s fear with confidence. She declares that she will win the Renseikai and also beat Kaisei. Koguma agrees that there is nothing wrong with setting her sights high, but he points out that this is an extremely tall hurdle. When Akane reacts as though he is discouraging her, he clarifies that he is not saying she should give up; he is trying to make her understand the size of the challenge she is aiming at.

Koguma then explains the futatsume hierarchy in broader terms. Among futatsume, there are those who are nearly ready to become shin’uchi and stand at the very top of the rank, the rising stars who still have work left to do as they gain experience and recognition, and the newly promoted futatsume who are still focused on firming up their own styles. However, Kaisei’s growth has been so exceptional that Koguma says it is difficult to place him into any normal category at all.

Akane notices that Maikeru also appears in the top category of futatsume and asks whether he really belongs there. Koguma explains that Maikeru has become so busy with work that he almost never shows up at Shiguma’s home anymore. Akane says she knew Maikeru was successful, but Koguma corrects her understanding: Maikeru is successful because he is extremely good. He starts by calling Maikeru the best futatsume in the Arakawa school, then goes further and says Maikeru is the best futatsume, period.

Maikeru then arrives at Shiguma’s home in his usual casual manner, greeting everyone and noticing that they are eating somen noodles. He asks if he can have some too, and Guriko says he will cook more. Akane enthusiastically offers to do it herself, but Guriko immediately shuts her down. The reason is shown through a flashback from fifteen minutes earlier, where Akane had tried to cook and failed because she did not know how to judge the heat on the stove, causing the pot to boil over.

After Guriko takes charge of the cooking, Maikeru realizes that the group had been talking about him. He asks whether they were discussing him, while also calling Koguma “Bear-chan,” which Koguma sharply tells him not to do. The scene leaves Maikeru in the kitchen area as the conversation shifts toward him more directly, with the boiling noodles and his relaxed entrance contrasting with how highly Koguma has just described his skill.

After Maikeru arrives, he notices Koguma’s situation and shifts the conversation toward him. Koguma has been taking on more and more public performances, and Maikeru points out that he has been putting too much onto his schedule in order to gain stage experience. Koguma tries to explain himself, but Maikeru makes clear that he is not scolding him. Instead, he tells Koguma that he should rely on his older brother apprentices for help, because that is part of what they are there for.

Akane overhears this exchange and realizes that Koguma does not need her to give him a pep talk. Maikeru has already stepped into that role as the senior apprentice. The focus then shifts back to Akane, with Maikeru cheerfully noting that she has been learning many new stories. Akane’s repertoire has grown, though someone also points out that it is still not a very large number overall.

Maikeru asks Akane which of her stories is her favorite. Akane immediately answers that she likes all of them, but Maikeru tells her to rephrase the question and think more carefully. He explains that he does not just mean the story she likes most emotionally; he means a story she feels especially good at, or one that suits her type particularly well. Akane struggles with the question and says she cannot choose only one, because she feels comfortable with all of them and each one is important to her.

Maikeru accepts her answer and moves on to the schedule for the Renseikai. The Renseikai will be held on July 29 and 30, while the selection event for the major four-person event is set for August 27. Because there is a sizable gap between the two, Maikeru forms a plan: if Akane manages to win her way into that selection event, he will give her lessons.

Akane is surprised that Maikeru would go that far for her, but he says he will. At the same time, he adds a condition: if she loses, he will not offer her lessons for a while. He also jokes in his usual flirtatious way that Akane is now eighteen, so there are no rules stopping her from falling in love with him, which Akane reacts to awkwardly. Despite the teasing, Maikeru’s actual challenge is serious. By tying his help to Akane’s result, he pushes her to become even more motivated.

The scene then shifts to the Monthly Rakugo office, where people are already discussing the Zenza Renseikai. Akane’s recent Rokumeikai report has made her a likely favorite in their eyes, especially since she has now officially joined the Arakawa school and is expected to compete for the zenza slot. However, one staff member warns not to get ahead of themselves, implying that the situation may not be simple.

The discussion becomes more ominous as they consider the strength of the Arakawa school’s zenza. Someone describes them as an “embarrassment of riches,” meaning there are many promising candidates. They also point out that the judge is Ikken, the same person from the Karaku Cup who chose this method of selecting a winner. Because of that, they suspect he may be hiding something and say that this year’s Renseikai feels ominous. The scene then advances to the day of the Zenza Renseikai, with Akane arriving at the station as the competition is about to begin.

 

[Daniel]

wobble wobble. Anyways...

Chapter 55
This chapter opens with Akane arriving at the venue for the Arakawa School Zenza Renseikai. The title, “The Vibe of the Renseikai,” frames the competition as a new stage for her. Standing outside the building, Akane confirms that this is where the Renseikai will be held and steels herself for what lies ahead. She thinks of the event as the battle that will determine whether she can reach Koguma and Kaisei in the upcoming four-person event, then psychs herself up to enter.

However, Akane’s serious entrance immediately falls apart when she tries the front door and finds it locked. Two other people nearby call out to stop her and explain that the performers’ entrance is around the back. Akane is embarrassed, while the others admit that they also found the layout confusing and had to ask where to go.

The two introduce themselves as fellow rakugoka. The older man says he is Kaichi Arakawa, while the younger one is introduced as Tama-chan. The younger performer also gives his own name as Kendama Arakawa. Akane initially assumes from their ages and demeanor that Kaichi must be the master and Kendama his student, so she panics and apologizes for being rude to a senior figure.

Kaichi quickly corrects her misunderstanding. Despite being over thirty, he only joined the Arakawa school that May, making him a brand-new zenza just like Akane. More importantly, because Akane entered the school before him, he treats her as his senior and calls her “nee-san.” Akane is shocked that someone older than her is technically her junior in rakugo, while Kaichi insists that seniority in the rakugo world is based on when someone joined, not on age.

Akane admits that this actually makes things less stressful for her, since she will not have to treat Kaichi like a senior apprentice. Kaichi immediately adapts to that attitude, which surprises Kendama with how quickly he changes his behavior. When Akane asks how they know about her, Kaichi says that of course they know her, since she has been at the center of attention recently. He then says that compared to Akane, “we” are constantly struggling, causing Akane to pause on the word “we.”

Akane notices Kaichi’s use of “we” and turns her attention to Kendama, asking whether he also joined the Arakawa school in the spring. Kendama shyly confirms that he joined that April, and Akane realizes they started around almost the same time. She immediately takes his hands and excitedly suggests that they become friends, calling him “Tama-chan.” Kendama becomes flustered by her directness, while Kaichi teases him for blushing and says it reminds him of middle school.

Akane then asks which teacher Kendama is learning under. Kendama answers that he is with Master Ikken, which causes Akane to react with surprise. She recognizes Ikken not only as a rakugoka, but also as an actor from the television drama Yin-Yang Cops, specifically the Kyoto Calamity arc. Kaichi encourages Kendama to explain what his master is really like, hoping this will help the conversation along.

Kendama tries to describe Ikken, but he becomes so excited that he struggles to express himself clearly. He says Ikken is cool, smart, and “wild,” repeating the word until Akane is left confused. Kaichi explains that Kendama tends to lose his vocabulary whenever he gets excited. He then gives a clearer explanation: Ikken is both a rakugoka and an actor, and he is widely praised for mastering both professions.

Kaichi adds that Ikken also uses the media to carry out the Arakawa school’s public relations strategy, making him something like the brains behind the school. Because of Ikken’s fame, talent, and influence, there is intense competition to become one of his apprentices. Akane praises the explanation as helpful, while Kaichi jokingly admits that the former salesman in him came out. He then tells Akane that the same idea applies to her as well.

Kaichi points out that Akane was accepted by Master Shiguma, one of the most selective rakugoka in the Arakawa school. In the past eight years, no one had been accepted under him, and the memory of Shiguma saying he did not have the right to take another pupil underscores how unusual Akane’s position is. For the other zenza, Akane is not just a new apprentice; she is someone who managed to enter through a door that had been closed for years.

Kaichi clarifies that Shiguma is not the only difficult master to study under. It is already extremely hard to become a pupil of Issho or any member of the Arakawa Arch Four. Because getting into the Arakawa school is such a struggle in the first place, the people who do manage to become zenza there should not be underestimated. As Akane, Kaichi, and Kendama enter the performer green room, the gathered Arakawa zenza are shown waiting inside, reinforcing that every competitor at the Renseikai is formidable.

Inside the green room, Akane immediately understands why the Renseikai feels different from a normal rakugo show. The room is full of Arakawa zenza who are all competing against one another, and the atmosphere is tense enough that she feels the hostility in the air. Instead of the usual backstage environment where everyone is helping the performance flow smoothly, this gathering feels like a room of rivals waiting for their chance to prove themselves. Akane finds the mood intimidating, realizing that this is the true “vibe” of the Renseikai.

Kaichi, on the other hand, is excited by the pressure and compares it to memories of the inter-high school athletic championships. Kendama, however, is overwhelmed like Akane and admits that he wishes he could be more like Kaisei. This leads Akane to ask what he means, and Kendama explains a rumor he has heard: Kaisei only appeared in the Renseikai once.

Kendama continues by saying that in that single appearance, Kaisei earned a recommendation from one of the Arakawa Arch Four and was promoted to futatsume the very next year. Akane is startled by how exceptional that is. She quickly insists that she is not trying to copy Kaisei’s achievement, saying that it feels arrogant even to think about doing what only Kaisei could do.

However, Akane stops herself from backing away from the idea. She tells Kendama that it is still okay to try and encourages him to face the competition with her. Kaichi watches the two younger zenza motivate each other and jokingly describes the moment as “bittersweet youth.” Before the conversation can continue, someone calls the room to attention and welcomes everyone to the event.

Ikken Arakawa then appears before the gathered zenza and introduces himself as the judge for the day. He explains that the Zenza Renseikai is a summer tradition for the Arakawa school, but this year’s event carries extra significance. As previously announced, he will be using the Renseikai as an audition, connecting the internal training competition to the open slot in the upcoming four-person futatsume event.

Ikken lays out the scale of the challenge. Eighteen zenza will perform across the two days of the Renseikai, but only four of them will be considered for the next round. He frames the competitors as “diamonds in the rough,” telling the audience and participants to watch as they attempt to polish themselves into fine jewels.

With the rules and stakes established, the Arakawa zenza prepare to step into the competition. Akane, Kaichi, Kendama, and the other participants stand together under the pressure of the event as Ikken formally declares the beginning of the Arakawa School Zenza Renseikai.

Chapter 56
This chapter opens by explaining the structure of the Arakawa School Zenza Renseikai. Ten zenza will perform on July 29 and another eight on July 30. Each entrant receives a fifteen-minute slot and may choose any story, with no formal restrictions on the material. The only element being judged is the performer’s storytelling ability.

After Kendama finishes his performance, the audience applauds and discusses how unexpectedly polished he was. One spectator remarks that Kendama already seemed like a true rakugoka despite having only recently joined the profession. Another had assumed that zenza were still in a basic training period and therefore would not possess much skill, but acknowledges that the Arakawa school puts considerable effort into cultivating new talent. The large number of capable zenza makes the selection process for the four-person event appear even more competitive.

The spectators recall that Kaisei had stood out as Renseikai's obvious winner when he competed in the past. This year, however, Akane’s presence has created similar expectations. Back in the green room, Akane enthusiastically praises Kendama for his performance, but Kendama is overwhelmed by self-doubt. He says he concentrated so intensely that his mind became chaotic partway through the story and worries that his performance was too uncontrolled. Another zenza reassures him that it was a strong and emotionally expressive performance.

Kaichi brings Kendama some tea, saying that Kendama deserves it after performing so well. He also offers a cup to Akane. Kaichi explains that he has difficulty sitting still and feels more comfortable when he is doing something useful for other people. Akane notices how hard he is working around the green room, while the others attribute his helpfulness to the habits he developed during his former career as a salesman.

Once Kendama has calmed down, Akane prepares for her own appearance. She is scheduled to perform eighth, but Kendama asks whether she has spoken with the seven performers appearing before her. Akane initially assumes he means whether she has introduced herself or tried to get to know them, but Kendama clarifies that she needs to ask what stories they are performing.

Kendama explains that almost every story presented at the Renseikai is a zenza-banashi, since zenza appearing in a full professional program are generally limited to those simpler opening stories. Although the Renseikai exists to evaluate the zenza individually, the ordinary rules of a rakugo program still apply. Performing the same story as someone who appeared earlier, or even choosing another story that is too similar, is considered frowned upon. A performer with a limited repertoire therefore needs to check the choices of those appearing before them.

Akane examines the list of stories already selected. The earlier performers have chosen “Praising Children,” “Jugemu,” “Tsuru,” “Taiko Belly,” “Scared of Manju,” “Former Dog,” and “Worth a Drink.” Several of these choices interfere with stories Akane knows: “Taiko Belly” and “Tsuru” overlap in subject or structure with possible alternatives, while “Praising Children,” “Jugemu,” and “Scared of Manju” have already been taken directly. She also cannot turn to “Sango-Jigo” or “Tenshiki,” and “Fetching Tea” is too long to fit comfortably into the fifteen-minute time limit. Akane realizes that an earlier version of herself, with only a handful of stories available, would have exhausted her usable repertoire before even reaching the stage.

Rather than panicking, Akane smiles as she remembers how restricted her choices once were. Since the Rokumeikai, she has received instruction from several different teachers and has continued expanding her skills instead of resting on the success of “Fetching Tea.” She privately expresses gratitude toward Karashi while recalling the additional lessons and experience she has accumulated.

Akane approaches her turn with far more options than she once had. She now has ten stories in her repertoire, allowing her to consider not only which stories remain available but also what the audience needs at that moment. Rather than choosing impulsively, she watches the room and tries to judge its mood before deciding which story to play from her “hand.”

After a succession of loud, high-energy performances, Akane senses that the audience has become tired from constant laughter. She therefore chooses “Hirabayashi” and delivers it with a softer, more relaxed atmosphere. Instead of trying to overpower the earlier contestants, she gives the audience something warm and easy to listen to, drawing smiles through the story’s rhythmic wordplay.

One observer recognizes that Akane is using the same audience-reading approach she demonstrated at the Karaku Cup. Her delivery is described as warm and enveloping, resembling the comforting style of Master Hassho, from whom she learned “Hirabayashi.” At the same time, the experience Akane gained through the Rokumeikai has broadened her range: she can now adjust how forcefully she pushes or pulls depending on the listeners in front of her. Convinced by her control of the room, the observer predicts that Akane is likely to be chosen for the four-person event.

Attention then shifts to the next performer, Kaichi. Some of the younger zenza question why an older man is competing at an event meant for up-and-coming performers. They are even more doubtful when they learn that Kaichi has belonged to the school for only two months, making him newer than Kendama. One contestant worries that Kaichi may not know what he is doing and says he does not want to watch a grown man embarrass himself onstage.

After leaving the stage, Akane drinks the water Kaichi prepared for her and remarks that it hits the spot. She thanks him for his earlier help, then invites Kendama to go watch Kaichi’s performance with her. Before they can continue their conversation, an enormous burst of noise comes from the performance hall, startling both of them.

Kaichi has already seized the audience’s attention. The spectators erupt with laughter and throw their hands into the air as his performance fills the room with explosive energy. Onstage, Kaichi portrays a character repeatedly apologizing for something he said, using the character’s desperation to generate another strong reaction from the crowd. The contestants who had dismissed him are stunned, while Akane cannot believe that someone with only two months of rakugo experience can produce such an overwhelming response. She asks who Kaichi really is, and Kendama begins to explain what he knows about him.

Kendama explains that Kaichi is not merely an unusually talented newcomer. He is the first person since Kaisei to be accepted as a direct pupil of Master Issho. This immediately changes how Akane and the other contestants view him. His overwhelming performance is not an inexplicable fluke; Kaichi has been personally selected by the same master who trained Kaisei and leads the Arakawa school.

Kaichi’s appearance introduces an unexpected new contender and instantly alters the atmosphere of the Renseikai. Until that point, much of the attention had been focused on Akane and the other promising younger zenza, but Kaichi’s explosive performance establishes that he is also a serious threat despite having joined the school only two months earlier. However, his entrance is not the only development that disrupts the competition.

Later on the first day of the Zenza Renseikai, someone urgently calls Akane’s attention to another arrival. As Akane turns toward the commotion, the narration notes that one person has begun attracting more attention than anyone else present. The surrounding contestants and attendees gather in the corridor, shifting their focus away from the competition itself.

Akane then sees Hikaru standing before her in a formal kimono. Stunned by her unexpected appearance at the Arakawa school’s internal Renseikai, Akane calls out Hikaru’s name. Hikaru meets her gaze with a calm smile, marking their first encounter since the events surrounding the Karaku Cup and Urara’s decision to consider Hikaru as a possible successor.

Chapter 57
The chapter, titled “The Rakugo Swamp,” opens with news spreading about Hikaru Koragi’s official debut as a rakugoka. An online article announces that the popular voice actress has become an apprentice of Ikken Arakawa and will begin performing within the Arakawa school. It presents rakugo as a serious new challenge for Hikaru and notes that her talent agency intends to support her activities.

The announcement quickly attracts attention because Hikaru is already well known among anime fans. Some people react skeptically, wondering whether she has joined the Arakawa school merely to gain more publicity. Others point out that Hikaru has actually been reducing her voice-acting workload since the previous summer. Although rumors claimed that her relationship with her agency had deteriorated, no credible reports supported that theory. Her acting ability had also continued to improve, particularly through her breakout role as Sakiko, the kuchisake-onna vocalist in the previous season’s hit series Roku Rock. Her growing success makes her decision to devote so much energy to rakugo even more surprising.

One observer recognizes the real reason behind Hikaru’s decision and remarks that she has “caught the bug” as well, suggesting that she has become genuinely captivated by rakugo rather than treating it as a publicity stunt or temporary side project. Hikaru appears at the Renseikai in a formal kimono, now presenting herself not as a celebrity guest but as one of the competitors.

Akane is stunned to see Hikaru again and asks why she is there. The other zenza explain that Hikaru is the final performer scheduled for the first day, even though none of them recognized the name written on the program. When Akane repeats her question, Hikaru answers simply that she is present because she is a rakugoka.

Hikaru formally introduces herself as Hikaru Arakawa, an apprentice of Ikken Arakawa, and explains that this is the name she uses within the rakugo world. The revelation shocks the other contestants, including Kendama, who had not known that his own master had taken Hikaru as another apprentice. Hikaru says her enrollment was kept secret until that day so that the announcement could be coordinated with her ongoing acting career.

Kendama understands that the secrecy reflects Ikken’s usual approach. Hikaru’s public debut has been carefully arranged as part of his effort to attract wider interest in rakugo, with her fame adding glamour and media attention to the Renseikai. Hikaru then notices that Akane looks unusually pleased to see her. Akane admits that she is happy they have reunited, especially after learning that Hikaru became serious enough about rakugo to join the Arakawa school while continuing her acting work.

Akane jokes that Hikaru has been completely pulled into the “rakugo swamp.” Hikaru agrees, saying it is reassuring to know that other people are trapped there with her. Akane responds that Hikaru’s involvement is partly responsible for drawing her in as well, then tells Hikaru that she will be watching her performance closely.

Before stepping onto the stage, Hikaru tells Akane that her performance will demonstrate how different Hikaru Arakawa is from Hikaru Koragi. As she enters the hall, audience members begin murmuring after recognizing her. The spectators realize that they are about to watch an established professional entertainer perform at what had appeared to be an internal competition for student-level rakugoka.

Hikaru begins by speaking about the many illnesses and afflictions that can trouble a person, eventually naming one that is rarely treated like an ordinary disease: lovesickness. She introduces “The Miller’s Torment,” a kuruwa-banashi about Tokubei, a rice miller who becomes infatuated with an oiran named Maruyama. After saving ten ryō over thirteen years, Tokubei is encouraged by a male geisha to visit her.

Within the story, Maruyama tells Tokubei that she loves art. Tokubei attempts to flatter her by saying that he could never become tired of looking at an artist’s paintings, but Maruyama sharply asks who would ever say such a thing. Hikaru presents their exchange as a natural conversation rather than turning every line into a dramatic monologue. This immediately distinguishes the performance from her Karaku Cup appearance, where her theatrical approach had resembled a one-woman stage play with rakugo elements.

Akane recognizes that Hikaru is no longer simply using conventional stage acting. By grounding the characters in conversation, Hikaru has made her rakugo far richer in expression. An observer considers that adjustment alone a startling evolution, but also notices the finer details in Hikaru’s performance: her mannerisms, changes in vocal tone, and carefully placed pauses. These qualities make it clear that Hikaru has received specialized instruction since the Karaku Cup.

The chapter then reveals that Urara Ransaika taught Hikaru the story. In a flashback, someone expresses surprise that Urara agreed to instruct her even though Ikken had personally vouched for Hikaru. Urara explains that Ikken’s recommendation was not what convinced her. Hikaru had approached her directly and bluntly said that since Urara had taught Akane, she should teach her as well. Rather than taking offense, Urara appreciated that Hikaru openly stated what she wanted without showing embarrassment or worrying about how other people might judge her.

Urara therefore taught Akane and Hikaru different kuruwa-banashi that suited each of them as potential headliners. Hikaru’s performance returns to Tokubei finally spending a night with Maruyama. As Hikaru guides the audience toward what happens the following morning, Urara reflects that Hikaru possesses a distinctive charm of her own, which is one that is clearly different from Urara’s personal style.

Urara evaluates Hikaru’s performance and reflects that Hikaru’s natural disposition is closer to her own than Akane’s was. She reiterates that compatibility between the performer and the story is crucial. Even so, she recognizes that watching another performer of the same generation accomplish something she could not do must be unsettling for Akane.

The other zenza are equally surprised by Hikaru’s growth. One admits that he underestimated her, while others struggle to believe how much she has improved in the single year since the Karaku Cup. Her command of rakugo is now far beyond something a voice actress could casually develop in her spare time, showing how seriously she has trained since becoming Ikken’s apprentice.

In “The Miller’s Torment,” Tokubei eventually spends all the money he had saved and becomes unable to visit Maruyama again. One night, he hears the legend of Umegae, a renowned beauty who rang the “Bell of Torment” and soon afterward received three hundred ryō. According to the legend, anyone who rings the bell may obtain great wealth, but will be condemned to suffer in hell after death.

Tokubei is not deterred by the danger. Desperate to see Maruyama again, he declares that he wants the money and is willing to do anything, even if it results in eternal damnation. Hikaru presents his obsession with an alluring but unsettling intensity, forcing the other contestants to reconsider the kind of performer now sitting onstage before them.

Through this portrayal, Hikaru establishes the distinction she promised Akane before the performance. Rather than merely applying her voice-acting experience to rakugo, she reveals the identity of Hikaru Arakawa, the rakugoka—a performer capable of using her own charm to embody longing, temptation, and dangerous devotion.

The hall falls silent under the force of Hikaru’s performance, and the other zenza look visibly shaken. Ikken had initially believed that Akane was virtually guaranteed to claim the Renseikai’s final slot, but Hikaru’s sudden emergence introduces a serious new possibility that he had not anticipated.

With Hikaru now joining Akane and Kaichi as major contenders, the struggle for the remaining place in the four-person event becomes far more intense.

 

[Daniel]

Chapter 58
The results of the Zenza Renseikai are announced after both days of performances have concluded. Four zenza advance to the selection process for the open place in Ikken’s four-person event. Zenmai is chosen from the second day, while Akane, Kaichi, and Hikaru are selected from the first day. Their advancement confirms that the three performers who drew the most attention during the opening day all survived the initial competition.

Afterward, Hikaru meets privately with Ikken. He congratulates her and says that although the Renseikai was a fierce battle, she successfully made it through. Hikaru thanks him, but Ikken notices that she does not appear satisfied with the result. He assures her that his evaluation is sincere, explaining that the Renseikai’s scoring is both precise and severe.

Ikken points out that Hikaru advanced without even playing the “ace” she had kept up her sleeve. Rather than taking comfort from that praise, Hikaru says she is not the only performer who held something back. Thinking of Akane as her direct competition, she concludes that no amount of preparation or training will ever feel sufficient. Hikaru therefore asks Ikken to give her another lesson, which he approvingly describes as a very studious request.

Hikaru leaves the meeting with Ikken and walks through the building. Looking out through the window, she notices a large advertisement connected to her entertainment career. Despite successfully reaching the next stage while balancing rakugo with her work as a voice actress, Hikaru privately admits that what she actually wanted from the Renseikai was confidence.

Hikaru reflects on the insecurity underlying her determination. In voice acting, even experienced professionals must continually audition for roles, and Hikaru has learned not to assume that success will continue automatically. She expects to lose opportunities and is prepared to fight for everything she can obtain. What she hoped to gain from the Renseikai was confidence strong enough to reinforce her resolve and help her endure such a competitive career.

She admits that she previously depended too much on recognition from others. Hikaru searched for praise so that she could believe in herself, but now considers that attitude foolish because it prevented her from confronting the obvious truth about her own position. She remembers becoming excited during the Karaku Cup when Ikken praised the unusually high level of skill she had already reached as a performer.

However, Issho’s evaluation of Akane revealed the difference between them. His remark that Akane did not belong in an amateur competition indicated that she had already advanced beyond the level of the other finalists. Looking back, Hikaru feels that she herself had not even reached the point where she could be judged on equal terms with Akane purely by the quality of her rakugo.

Hikaru remembers feeling more powerless at that moment than ever before. She disparagingly describes herself as merely a voice actress who was not clever enough to recognize defeat, cut her losses, and move on. Nevertheless, rather than abandoning rakugo, she turns that frustration into a firmer resolution. If she is ever going to look at herself honestly and feel satisfied with what she sees, she believes she must win regardless of the cost. Above all, she has to defeat Akane.

The scene shifts to Akane at home, where her mother enthusiastically congratulates her for reaching the selection round and asks about her first Renseikai. Akane says she met other performers who began around the same time as her and singles out two competitors who were particularly impressive.

Akane describes Kaichi as considerate, generous, and naturally inclined to help others. She also notes that his performance prioritized the audience above everything else. Hikaru, by contrast, was extraordinarily expressive, approaching Urara’s level in that regard, and delivered a flashy, memorable performance. Akane’s mother observes that both competitors sound formidable, and Akane agrees. Her mother then changes the direction of the conversation, saying that after examining Akane’s competition, they should now consider the opposite perspective.

After listening to Akane assess Kaichi and Hikaru, Maikeru turns the question back on her and asks what kind of rakugoka she is. He invokes the idea of “know your enemy, know yourself” and asks Akane to identify her own greatest strength, which is the the quality that makes her performance unique. Akane is caught off guard because she has spent more time studying her rivals than objectively examining herself.

Akane compares herself with the other two leading contenders. Hikaru can draw upon her professional experience as a voice actress, while Kaichi incorporates the interpersonal skills he developed as a salesman. Both use abilities gained outside rakugo to strengthen their performances. Akane, however, has devoted herself almost entirely to rakugo, leaving her worried that she may not possess a similarly distinctive quality. Maikeru acknowledges that judging oneself objectively is difficult and asks whether she is familiar with the concept of nin.

Maikeru explains that nin is a term from kabuki referring to a performer’s unique essence or natural disposition. Rakugo has a similar idea called fura, though Maikeru uses nin as a broader framework for understanding performance. According to him, the quality of rakugo is created through the interaction of two elements: the performer’s individual nature and the story’s inherent entertainment value. A performer therefore needs to understand their own nin, since compatibility between storyteller and material is a major factor in whether a performance succeeds.

To make the concept easier to understand, Maikeru presents an original hexagonal chart he devised for classifying a story’s qualities. Its six primary attributes are power, which includes force, momentum, and volume; drama, involving human stories and emotionality; relaxation, covering laid-back, surreal, or slacker-style material; allure, involving seduction and enticement; intellect, based on history, knowledge, and intelligence; and tempo, involving rhythm, speed, and crisp delivery. Comedy sits at the center of the chart as a fundamental element of rakugo.

Maikeru says that every story contains at least one of these attributes, while more demanding stories may combine several. Different genres tend to require different combinations: long passages can demand tempo and power, kuruwa-banashi may combine intellect, allure, and relaxation, and kaidan-banashi can involve allure, relaxation, and drama. A performer’s strongest attributes depend upon their personal nin. As examples, he classifies Koguma as especially suited to intellect and tempo, while Kyoji excels in drama and power. He also notes that an apparently poor match between a performer and a story can occasionally create unexpected chemistry, producing its own kind of appeal.

Maikeru adds that every person possesses a nin of their own. Because rakugo contains such a wide variety of stories, any performer should eventually be able to find material that suits their individual nature. He tells Akane that several stories already come to mind as particularly compatible with her. Akane eagerly asks him to teach her one, but Maikeru pauses and tells her that he will not choose Akane’s next story for her.

Until now, Akane has generally learned stories because someone instructed her to do so or because circumstances forced her to expand her repertoire. Maikeru says that approach is acceptable while she remains a zenza, but it will no longer be enough once she becomes a futatsume. To progress at that level, Akane must develop a sharp eye for selecting stories that match her own strengths and performance style. He intends to use this decision as practice for that responsibility.

Maikeru presents Akane with three stories he could potentially teach her: “The Abstaining Guard,” “Toad Oil,” and “Changing Time.” Each offers her a different path into the selection round. He describes “The Abstaining Guard” as a powerful story for winning over a crowd, making it the most direct choice if Akane’s sole objective is victory. “Toad Oil,” by contrast, is the story that Maikeru believes best suits Akane’s natural nin, offering her the chance to build a performance around qualities already inherent in her personality and style.

The third option, “Changing Time,” carries a far more personal meaning. Maikeru reveals that it was the story Shinta performed at the Zenza Renseikai when he earned a promotion recommendation from one of the Arakawa Arch Four. Akane is stunned to learn that one of the choices before her is directly connected to the performance that once advanced her father’s career.

Maikeru further explains that he personally learned “Changing Time” from Shinta. Therefore, if Akane selects it, he can pass the story down to her exactly as Shinta taught it to him. However, Maikeru refuses to tell her whether choosing her father’s story would actually be the best strategic decision for the selection round. That judgment is part of the test Akane must face for herself.

Although Maikeru has offered three possibilities, he warns Akane that there is only enough time for him to teach her one of them. She must therefore choose between the story most immediately effective at captivating the audience, the one Maikeru believes naturally fits her, and the one that would allow her to inherit a piece of her father’s rakugo. Calling her “Akaneru,” Maikeru asks which of the three stories she will select.

Chapter 59
This chapter starts off by returning to the three stories Maikeru has offered Akane. “The Abstaining Guard” is the dependable crowd-pleaser, “Toad Oil” is the story he believes best matches Akane’s natural nin, and “Changing Time” carries the rakugo of her father, Shinta. After Maikeru asks which one she wants to learn, Akane makes her decision without prolonged hesitation and asks him to teach her “Changing Time.”

Maikeru accepts her answer and immediately begins preparing for the lesson. He tells Akane to change into her kimono while he gets ready to record the story for her. Rather than continuing to debate the advantages and disadvantages of each option, Akane treats the decision as settled and moves straight into training.

While changing, Akane reflects on why she chose “Changing Time.” She still wants to win the selection round, earn the open position in the four-person event, and eventually catch up to Kaisei. She understands Maikeru’s lesson that a rakugoka must develop the judgment to select stories that suit their strengths and style. However, beneath those competitive goals, what Akane most wants at this moment is to show where her own rakugo began.

Akane thinks of her father performing rakugo and recognizes that choosing his story may not be the safest or easiest route to victory. Even so, she believes that some things are more important than pursuing the most convenient win. This does not mean that she is surrendering the competition or choosing sentiment over results. Akane firmly resolves that she will still win, but she will do so in her own way by performing the story connected to Shinta.

After changing into her kimono, Akane returns and tells Maikeru that she is ready. Maikeru says they can begin immediately and reminds her that she may start recording whenever she needs to. He then remarks on how decisively she selected “Changing Time,” having expected her to struggle much longer with the three difficult options.

Maikeru jokingly admits that he intentionally gave Akane a particularly difficult set of choices. Akane dryly responds that she was fully aware of what he was doing. Despite the joke, Maikeru says he is impressed that she reached her answer so quickly. He then gives her an important warning before the lesson begins: there are no absolute answers onstage. Trends, compatibility, odds, strategy, and outside opinions can all help guide a performer, but none of them can guarantee what will succeed before a live audience.

Maikeru tells Akane that only she can determine whether her choice was the right one. Now that she has selected “Changing Time,” there is no reason to continue second-guessing herself; she must commit fully and pursue the path she chose as hard as she can. He places his fan before him and formally begins Akane’s lesson.

Maikeru introduces “Changing Time” as a lighthearted story centered on a married couple. The husband stays out drinking late and continues drinking after finally returning home, much to his wife’s frustration. His behavior is habitual and incorrigible, establishing a familiar domestic conflict between a troublesome drunk and the woman who has dealt with him for years.

Within the story, the wife scolds her husband for being unable to hold his liquor and orders him to go to bed. The drunken husband stubbornly refuses and insists that he will continue drinking. As Akane watches, she expects Maikeru to explain the story’s structure before performing it, but he instead demonstrates the material directly through his acting and dialogue.

Maikeru’s earlier classification system places “Changing Time” primarily within the attributes of relaxation and drama. He explains through the performance that it is the kind of story that truly reaches its potential in the hands of a veteran. Its appeal does not depend upon an elaborate plot or explosive action, but on the performer’s ability to make an ordinary, long-married couple feel convincing and entertaining.

The key to the husband’s character is his contrarian stubbornness. Maikeru portrays him as the type of man who resists simply because he wants to resist: when his wife tells him to stop drinking, he insists on continuing, but when she changes tactics and asks whether he wants another drink, he immediately claims that he does not. She then catches him off guard by accepting his refusal, prompting him to reconsider and ask whether he actually does want one after all.

Akane realizes that the scene depends on evoking the comfortable but exasperated relationship of a couple who have lived together for many years. The wife understands exactly how to manipulate her husband’s contrary nature, while his foolish responses reflect an argument they may have repeated countless times. Creating that accumulated familiarity raises the story to a completely different level, making Akane understand why it is regarded as material for experienced performers.

As Maikeru continues, Akane becomes absorbed in the finer details of his performance: the inflection of his words, the timing of his pauses, his gestures, and the changing expressions on his face. Each element feels strikingly familiar. They overlap with the rakugo Akane watched and copied over and over again while growing up.

Akane then recognizes the source of that familiarity. Maikeru’s rendition matches her father’s rakugo, revealing that the version of “Changing Time” Shinta passed down to him has been preserved within Maikeru’s performance.

After finishing the initial lesson, Maikeru tells Akane that he has plans and will leave her to practice alone. He instructs her to contact him once she believes she has learned the story well enough for him to evaluate it. Akane thanks him and promises to work hard. As he departs, she reflects that Maikeru could not have reproduced Shinta’s rakugo so faithfully after only one or two lessons. His affectionate use of “Aniki” also makes her wonder what kind of relationship Maikeru and her father once shared.

Maikeru later visits Akane’s mother at her workplace. She is surprised to hear that he has begun teaching Akane a story, since he had deliberately kept some distance from her when she first entered the school. Maikeru explains that he initially wanted Akane to form bonds with her younger brother apprentices before he became too involved. However, he now suspects that he may have worried unnecessarily about her ability to fit in and develop.

Akane’s mother remarks that Akane appears to have inherited more from her than from Shinta, joking that Akane takes after her “Anego” rather than Maikeru’s “Aniki.” She also criticizes Akane’s strange food choices, recalling a recent group meal where Akane paired somen noodles with rice balls. Maikeru responds by showing her an old photograph he found while clearing data from his phone.

The picture shows Maikeru caring for Akane when she was approximately three years old. Akane’s mother laughs at the sight of his bleached hair and remembers the occasion: Shinta had begged Maikeru to babysit Akane so that he and his wife could go out for an anniversary dinner. Looking at the image, Maikeru is struck by the fact that he is now teaching rakugo to the same child he once looked after.

Akane’s mother asks whether a futatsume is permitted to teach stories to another apprentice. Maikeru explains that it is allowed when the master approves, although stories are not commonly passed between apprentices. He adds that he himself learned from Shinta in the same way. Akane’s mother remembers how closely Shinta looked after Maikeru during those years.

Maikeru says Shinta taught him far more than a single rakugo story. Shinta instructed him in everything from properly greeting senior performers to handling himself while drinking, and Maikeru believes Shinta ultimately taught him how to conduct himself as a human being. Because of that, Maikeru feels he can never completely repay the debt he owes him.

Even so, Maikeru recognizes that excessive protection would interfere with Akane’s growth. By teaching her the version of “Changing Time” that Shinta passed down to him, he believes he has now done everything he can for her at this stage. The remaining challenge belongs to Akane: she must determine how to transform the inherited performance into her own version of “Changing Time.”

Chapter 60
This chapter opens at a bookstore hosting a signing event for Hikaru Koragi’s first photo book. Hikaru warmly greets an enthusiastic female fan who says she is a huge supporter and will continue rooting for her. Although Hikaru handles the interaction professionally, she privately feels awkward about being treated like a goddess simply for meeting her fans. After the woman leaves, Hikaru calls for the next person in line.

The next customer is Karashi, who has purchased the photo book for the chance to meet Hikaru and shake her hand. He grumbles about spending three thousand yen on the book and remarks that being a celebrity must have its benefits, openly admitting that he is jealous. Hikaru immediately recognizes him as one of her rivals from the Karaku Cup.

Hikaru observes that Karashi appears far more relaxed than he did during the competition. She teases him about how emotional and excited he became at the Karaku Cup, saying he is welcome to squeal the same way again. Karashi turns red with embarrassment, and Hikaru jokes that nothing is worse than being reminded of one’s past self. Karashi protests that his behavior was perfectly normal for a college student.

Karashi then directly asks whether Hikaru has become a rakugoka. Hikaru confirms it and says she was surprised that Karashi did not join the Arakawa school as well. Karashi rejects the idea, arguing that belonging to the same school would effectively place them on the same side. He would rather remain Hikaru’s opponent than become her schoolmate, while sarcastically expressing how honored he is that the famous Hikaru Koragi remembered him.

Hikaru responds that she feels the same way about Karashi and refuses to accept the idea that their Karaku Cup result left them tied. Karashi points out how much she hates losing, only for Hikaru to answer that he is hardly in a position to criticize her for being competitive. Their exchange shows that both still regard the other as a rival, despite now following separate paths into professional rakugo.

The conversation reveals that Karashi has also made a major commitment to rakugo. Papers associated with withdrawing from the conventional job-application process indicate that he abandoned the ordinary career path expected of a university student. Karashi admits that it may have been a foolish life decision, but says he finds it reassuring to see someone else make an equally foolish choice by balancing a successful entertainment career with rakugo.

As Karashi prepares to leave, Hikaru tells him that she began studying under Ikken the previous summer. That makes her Karashi’s senior within the rakugo hierarchy, so she insists that he address her respectfully as nee-san the next time they meet. Hikaru pointedly calls him by name, while Karashi responds with an amused grin.

Karashi refuses to accept Hikaru’s demand that he address her as his senior without reservation. Before leaving the signing event, he tells her that he will consider it only if she can defeat Akane, keeping the rivalry between the three Karaku Cup finalists alive.

The scene then shifts to Umi, where Akane has temporarily returned to work at the restaurant. Compared with her earlier time there, she now handles the crowded floor with remarkable awareness and efficiency. She remembers customers’ allergy requests, coordinates substitutions with the kitchen, delivers checks and tea without being prompted, and immediately responds when another table needs seating.

Akane’s coworkers are surprised by how much she has changed since the previous year. They remark that her zenza training must have put her through an exhausting ordeal, since she now appears far more capable and attentive than before. Although they appreciate the extra help, they are confused because Akane asked to return for only two or three shifts rather than taking the job back permanently.

Akane’s real purpose is connected to her preparation for “Changing Time.” The story requires her to portray a convincing drunk, but because she is still a minor, she cannot gain firsthand experience by drinking alcohol herself. She has therefore returned to the restaurant so she can closely observe intoxicated customers in a natural environment.

Akane recalls that rakugoka who do not drink can sometimes portray drunkenness especially well. Because they remain sober, they can carefully study people who are intoxicated, their expressions, posture, movements, speech, and other distinctive mannerisms, and later reenact those details onstage. Watching the restaurant’s drunken patrons, Akane begins gathering the observations she needs to make the husband in “Changing Time” feel authentic.

While working at Umi, Akane is sent out to buy more green tea. Her observations of the restaurant’s customers have given her enough confidence to portray the drunken husband in “Changing Time,” but she realizes that drunken behavior is only one part of the story. The more difficult challenge is reproducing the atmosphere of a married couple who have spent many years together. She needs to convey the familiarity, irritation, and unspoken understanding that have accumulated between the husband and wife over time.

As Akane walks through town, she remembers Maikeru asking what kind of rakugoka she is. They began training immediately afterward, so the question was left unanswered, but Akane privately admits that she still does not know. She begins to suspect that the answer may be connected to her origins in rakugo and to the art she inherited from her father. Learning “Changing Time” is therefore not only about improving her own performance; by studying Shinta’s rakugo, she may also learn more about who she has become as a performer. However, she remains uncertain about how to pursue that understanding.

Akane unexpectedly encounters Karashi on the street. He immediately tries to conceal something behind his back and becomes defensive when she asks what he is hiding. Akane discovers that he is carrying Hikaru’s photo book from her recent signing event. Karashi insists that the book was forced into his hands, even though he had already paid for it, making his excuse completely unconvincing. Embarrassed, he eventually tells Akane she can keep it and look through it as much as she wants.

As Akane examines the photo book, she sees Hikaru portrayed in several different outfits and situations. Akane usually thinks of Hikaru as the poised girl she sees wearing a kimono in the rakugo world, but the photographs remind her that Hikaru has many other sides created by her life and work outside rakugo.

That realization gives Akane a new way to approach “Changing Time.” The Shinta she knew as her father was also only one side of him. Maikeru knew Shinta as his senior apprentice and shared a relationship with him that Akane never witnessed. Akane concludes that learning more about her father from the people who knew those other sides of him may be the key to understanding, and eventually mastering the rakugo he left behind.

Chapter 61
The chapter opens with Akane speaking to Koguma about Shinta. Koguma understands that Akane wants to learn more about her father because she has chosen to master “Changing Time,” the story connected to Shinta’s own rakugo. He is surprised because Akane has never asked him about Shinta before, but Akane says it is not strange; until now, she had always thought of Shinta almost entirely as her father.

Akane explains that this has changed because of the decision she has made. She intends to win the selection round using Shinta Arakawa’s art, which means she cannot rely only on her childhood image of him. To perform the story properly, she wants to understand Shinta as a rakugoka and as a person, including his nin, or natural essence. Koguma accepts her reasoning and says he can help answer her questions.

Koguma then asks why Akane does not simply ask Shiguma directly. Akane answers that she cannot. She quickly clarifies that her relationship with her father is not bad and that they still talk about ordinary things like her friends, but since the day Shinta was expelled from the Arakawa school, they have never once spoken about rakugo together.

Akane believes Shinta is trying to keep some distance from rakugo. Although he supports her goal of becoming a rakugoka, she senses that asking him directly about his own past and art would be difficult. Koguma understands and suggests that she should not ask Shiguma about Shinta either. Akane says she had not planned to, and Koguma admits that although he can answer her questions, he cannot guarantee that the answers will actually help her.

Koguma then begins gathering memories of Shinta from the people who knew him as an older apprentice. He recalls that Shinta loved books and that the two of them often went to bookstores together. Shinta also knew a great deal about older rakugo stories, showing that his interest in the art extended beyond performance alone and into research, history, and preservation.

Other senior apprentices offer their own impressions of Shinta. One says he did not know Shinta as well as the others, but that Shinta helped look after him when he was first starting out. Another remembers Shinta as extremely sincere and direct in the way he handled his art, while also noting that he became cheerful when he drank and often danced kappore with the others. Through these memories, Akane begins seeing sides of Shinta that she never knew as his daughter: a studious rakugoka, a caring senior apprentice, a serious artist, and a lively companion among his peers.

Akane continues gathering impressions of Shinta from people who knew him as a rakugoka rather than only as her father. One person remembers him as sensitive and indecisive, but also says that when the situation truly required someone to act, Shinta was the person they wanted beside them. Another remembers him not merely because of his expulsion, but because he was especially skilled at ninjō-banashi, stories centered on human emotion. They also recall that Shinta was close with Master Chōchō and once went drinking with him and another senior performer. The conversation briefly drifts into teasing about Hikaru, showing that these memories of Shinta are being shared in a casual, personal way rather than as formal testimony.

Akane later reviews what she has learned with her mother. Her mother connects those outside impressions to how Tōru himself saw things, saying that this may explain why he was able to reach futatsume by performing “Changing Time.” For Akane, this brings the issue back to the central difficulty of the story: it is not enough to imitate Shinta’s version or understand its structure. She has to convincingly portray the emotional texture of a married couple, and her mother bluntly asks whether Akane can really pull that off.

Akane admits that this is exactly what she is trying to figure out. She has Maikeru’s attribute chart available as a guide, but the chart alone cannot solve the problem for her. When she asks her mother for an opinion, her mother immediately implies that Akane is not yet capable of capturing the feeling of a long-married couple, causing Akane to protest. However, her mother softens the comment by saying that she liked Akane’s attempt.

Her mother then gives Akane a more personal clue. When Akane was a child and had already gone to bed, Tōru and her mother would sit together at the table, drink, and talk about rakugo. Akane is surprised to hear this, since it reveals a side of her parents’ relationship that she never witnessed directly. Her mother clarifies that she did not truly understand much about rakugo herself, so their conversations were usually less like an equal technical discussion and more like Tōru talking while she listened.

This gives Akane another angle on both Shinta and “Changing Time.” The story is about the rhythm between husband and wife, and her mother’s memory suggests that Akane’s own parents had a private domestic rhythm connected to rakugo: Tōru speaking about the art he loved, and his wife staying beside him even if she could not fully follow the technical side. Akane begins to see that understanding Shinta’s rakugo may also require understanding the everyday married life around him, not just his reputation among other performers.

Her mother then says that if Akane really wanted to know about rakugo and the earlier question, the quickest method would have been to share drinks with Tōru back then. She immediately adds that this is impossible, of course, but the remark leaves Akane visibly struck. The idea points toward something Akane cannot directly access: the adult conversations, private atmosphere, and accumulated years between her parents that formed one of the emotional foundations behind Shinta’s “Changing Time.”

Akane’s preparation for “Changing Time” reaches a new point when she recalls another side of the ordinary family life she once took for granted. While resting at home, she wakes up after dozing off in front of the television. A program about promising young comedians is playing, and her phone receives a message, but Akane is groggy and realizes she fell asleep without even washing off her makeup.

Her mind then drifts back to a childhood memory of her parents talking late at night while they believed she was asleep. Tōru and Akane’s mother were drinking together and reminiscing about Akane’s childhood, including the time she got into an argument in fifth grade and her teacher had to call her mother in. Her mother remembers nearly losing her temper during the incident, while Tōru gently corrects her language and teases her in a familiar, relaxed way. The memory shows Akane the casual rhythm between them: not a grand romantic scene, but the comfortable bickering and shared laughter of two people who have lived together for years.

In that memory, Akane’s mother pours Tōru another drink while scolding him in an affectionate, exasperated way. Tōru responds happily, saying that drinking with his own child had always been a dream of his. For Akane, this becomes an important emotional clue. The married couple in “Changing Time” cannot be created only by studying drunken customers or copying Shinta’s technique. She also needs to understand the warmth, irritation, and history that exist between people who have shared a household for a long time.

Akane later visits Shiguma for recital practice. Shiguma is surprised that she is already asking to perform the story for him, but Akane says her earlier conversations helped her understand something important. She describes rakugo as a time machine. Through “Changing Time,” she is not only learning one of Shinta’s stories; she is reaching back toward the parts of her father, her family, and her parents’ relationship that she could not fully understand when she was younger.

Shiguma finds her observation interesting, but before asking her to explain further, he tells her to begin with the actual business of the recital. Akane prepares to show him how her version of “Changing Time” has developed. Maikeru also wants to hear how Akane’s “time travel” version of the story has turned out, showing that the people around her are now waiting to see whether she can transform Shinta’s inherited rakugo into her own performance.

Time then passes quickly, leading to the day of the selection event. Each remaining contestant enters the day with their own goal. Kaichi arrives with his family cheering him on, motivated by the chance to perform with Kaisei if he wins. Hikaru also stands as a direct rival, still driven by the need to defeat Akane and prove herself through rakugo. Akane enters the event with her own resolve as well, carrying the version of “Changing Time” she has built from Shinta’s art, Maikeru’s lesson, her mother’s memories, and her own understanding.

The chapter ends as the selection event begins at Urara-tei, making it clear that only one of the remaining contenders can win the open slot. The showdown for the fourth seat in Ikken’s next-generation Arakawa event is now underway.

 

[Daniel]

Chapter 62
The chapter opens at the selection round venue, where the turnout is far larger than Akane expected. The event is completely sold out, and another five hundred online passes have been sold for the livestream. Akane is shocked when she realizes that the online audience alone would be enough to fill Yasaka-tei, making the event feel much larger than an ordinary zenza-only competition.

One of the others explains that this level of attention is unprecedented for an event centered on zenza. Much of the unusual turnout is attributed to Hikaru, whose celebrity status has drawn a different kind of audience from the normal rakugo crowd. Akane, rather pleased by Hikaru’s popularity, says she is not surprised that people would flock to someone with Hikaru’s talent, but she is also told that she needs to prepare herself for the special rules of this round.

Akane then learns that the audience will participate directly in the judging. Spectators can enter scores through a QR-code form, including both the in-person audience and the online viewers. The scoring system gives each of the three official judges up to twenty points, while the in-person audience and online audience can also contribute up to twenty points each, creating a total possible score of one hundred. This system immediately feels like something Ikken would devise.

Akane worries that the format gives Hikaru a massive advantage. Since many people in the hall are likely Hikaru’s fans, and the same may be true for the livestream audience, Akane assumes Hikaru could receive the best audience score almost automatically. However, she is told that the situation may not be that simple. Before the concern can be fully resolved, the host announces that it is time to begin the selection round.

The host explains the stakes to the audience. The four zenza who survived the Renseikai—Akane, Hikaru, Kaichi, and Zenmai—will compete for the right to appear in the upcoming four-person event alongside the major futatsume expected to lead the Arakawa school’s next generation. With that reminder, the event moves directly into the performances, beginning with Zenmai Arakawa.

Zenmai takes the stage first and begins with a setup about how people have different faces, personalities, and temperaments. He says that when ten people gather, they will produce ten different opinions, and some people are naturally extremely stubborn. This leads into his chosen story, “The Stubborn Moxibustion.”

Zenmai introduces the piece as a humorous kokkei-banashi about the headstrong nature of an Edokko. In the story, a man brags to a friend that he went to a moxibustionist so hot that most people give up from the pain. Rather than backing down, the character insists that he can withstand it, even saying he will put the whole pile on his arm. Zenmai’s performance quickly establishes a lively comic tone built around stubborn pride and exaggerated bravado.

Zenmai continues “The Stubborn Moxibustion” by fully committing to the character’s ridiculous pride. As the moxibustion burns into his arm, the man is clearly in pain, sweating and straining while the heat overwhelms him. However, because he has already boasted that he can handle it, he refuses to admit defeat. Even while groaning from the pain, he insists that he does not feel anything and tries to maintain his tough front in front of the audience.

The crowd reacts well to Zenmai’s physical comedy and exaggerated stubbornness. Seeing the audience laugh, Zenmai feels that he has successfully reached them and begins gaining confidence. Internally, he thinks back on how Kaisei has taken the spotlight for the past four years, leaving him overshadowed despite his own efforts. He also remembers enduring Master Zensho’s harsh discipline, including being criticized for lacking personality and being told to braid his hair. For Zenmai, this selection round is his long-awaited chance to stand out.

Zenmai’s motivation sharpens as he thinks about the newer zenza who have suddenly become major contenders. Akane, Hikaru, and Kaichi have all been in the school for less than a year, yet they are already attracting attention and threatening to pass him by. Refusing to be shown up by these fresh-faced newcomers, Zenmai pushes himself harder onstage and throws everything into the performance.

After Zenmai finishes, the audience applauds, and the event moves into its scoring process. The host thanks him for his performance, then announces that it is time for the judges and audience members to submit their scores. The spectators enter their evaluations through the scoring system, and the results are gathered immediately.

Zenmai receives a total score of 75 points. The displayed breakdown shows 15 points from Ikken, 17 from Ryujaku, 12 from Gakumon, 17 from the in-person audience, and 14 from the livestream audience. Akane is surprised by the wide spread between the scores, especially because the same performance has received noticeably different evaluations depending on who judged it. The host then prepares to hear comments from the judges, beginning with a veteran critic who has spent fifty years covering the performing arts.

Gakumon Saito gives the first judge’s comment on Zenmai’s performance, and his response is harsh. He says Zenmai tried to get a reaction through funny faces and momentum, but to him the result felt desperate and amounted to very poor acting. He also criticizes Zenmai’s Edo style, saying that although it was subtle and direct, Zenmai’s speech technique was not strong enough to properly support the dialect. Zenmai is visibly shaken by the criticism, and the host quickly moves on before the atmosphere becomes too awkward.

Ryujaku Sakaki’s comment is the complete opposite. When asked for his thoughts, he says he thought Zenmai’s performance was great. To Ryujaku, the most important factor is the reaction a performer creates in the room, and he respects someone who is determined to make the audience laugh no matter what it takes. This sharp contrast makes the difference between the judges’ standards immediately obvious: Gakumon focuses on technical precision and acting quality, while Ryujaku values raw crowd response and comic force.

Members of the press watching the event notice the contradiction. Komi is asked what she thinks, and the group compares the live performance to the livestream footage on a phone. One person comments that it seems strange, because Zenmai’s performance appears less impactful when watched through the video. This helps explain why the in-person audience responded more strongly than the online audience: Zenmai’s energy, facial expressions, and physical momentum may have worked much better inside the room than through a screen.

The observers then begin breaking down the entire scoring system. They realize that every score is measuring something different. Gakumon is judging whether the performance satisfies the standards of a seasoned traditional critic. Ryujaku is judging from the perspective of a Kansai professional who values live audience reaction. The in-person audience is judging whether the performance entertained them in the room, while the online audience is judging whether it worked as a video experience.

Because of that, the contestants are not being evaluated through one simple standard. Each judge and audience group uses different criteria, so excelling in only one area is not enough. A performer must create an overall performance that can satisfy professionals, live spectators, and viewers watching remotely. The observers conclude that this is a logical way to judge someone overall, but also an extremely demanding one for zenza who are still early in their careers.

The system is described as cruelly designed by Ikken. Rather than letting the zenza rely on one obvious strength, the format exposes them to multiple kinds of judgment at once. This makes everyone more curious about the next score, especially because the next performer is Kaichi Arakawa, the man who stunned the audience on the first day of the Renseikai and overwhelmed them with his performance.

Kaichi is then shown preparing himself before his turn. He repeatedly mutters words such as honesty, dedication, emotion, gratitude, and unending love for the customer, revealing the principles driving his performance style. His expression remains cheerful beneath his glasses, but the repetition gives his preparation an intense, almost ritualistic quality. With Zenmai’s score having revealed the harshness of the judging system, Kaichi steps forward as the next major test case for how this competition will evaluate a performer who wins over the audience through sincerity and service-minded energy.

Chapter 63
The chapter begins in the participant green room after Zenmai receives 75 points as the lead-off performer in the selection round. Zenmai is frustrated because the score is not disastrous, but it is also not strong enough to make him feel secure. He thinks bitterly that a “kinda, sorta good” score is the least memorable result possible, and regrets drawing the short end of the stick by having to perform first. Akane brings him tea and tries to comfort him, but Zenmai snaps that she must be pitying him after seeing his embarrassing score.

Akane answers honestly that Zenmai’s rendition was very good, which immediately softens him. However, she also says that the real problem is the judges. Looking at Zenmai’s score breakdown, Akane notices how widely the evaluations differed: Ikken gave him 15, Ryujaku gave him 17, Gakumon gave him 12, the live audience gave him 17, and the stream audience gave him 14. From that spread, she concludes that each judge and audience group is probably looking for different things, making the selection round extremely hard to please overall.

Zenmai agrees, saying that if he could have adjusted his performance to match each judge’s preferences, he would have done much better. Akane starts thinking about those preferences and how they might affect Kaichi, who is about to perform next. Members of the press also discuss the same issue. They believe Kaichi’s worst compatibility may be with the judging system itself, because the thing that got him selected in the first place was the sheer volume of laughter he produced. If he reaches too hard for laughs again, they expect him to repeat Zenmai’s mistake and be punished by the judges who want more than raw crowd reaction.

However, another observer warns that Kaichi should not be underestimated. When someone assumes that Kaichi is guaranteed to lose if he simply chases laughter, the reminder comes that he used to be a top-notch salesman. That past career becomes the key to understanding him. Unlike a performer who only knows how to push for jokes, Kaichi has experience reading people, selling ideas, and adjusting his speech to win over others. The chapter frames him not merely as an older newcomer with surprising energy, but as someone who has spent years learning how to move people through words.

Kaichi then takes the stage. The narration presents him as “a man used to making numbers go up with his gift for gab,” directly tying his former life in sales to his current rakugo. He begins by explaining that many rakugo stories feature a recurring character named Yotaro, who is often portrayed as a foolish or simple-minded man. By opening with this explanation, Kaichi sets up a story built around a familiar comic archetype while also giving himself room to use his own strengths: clear speech, audience guidance, and an approachable way of drawing listeners into the premise.

Kaichi begins his performance by explaining the stock rakugo character Yotaro, a foolish but familiar figure in zenza-banashi. He then starts “Golden Bamboo,” where Yotaro works at his uncle’s antique shop. The story opens with Yotaro helping around the shop in bizarre ways, including clipping a cat’s claws after being told to keep the place tidy. When his uncle scolds him, Yotaro explains that he was only doing what he was told, creating the story’s first simple misunderstanding.

Kaichi plays the exchange plainly, with the uncle clarifying that he meant Yotaro should trim his own nails, not the cat’s. The audience responds warmly to the simple gag, and one of the judges notes that “Golden Bamboo” is a smart choice for Kaichi. Since zenza-banashi are already highly polished short stories, they do not require extra “wrinkles” or flashy additions to work; they are often funniest when performed faithfully. The performance is framed as a return to fundamentals, which suits a competition judging zenza.

At first, it seems as though Kaichi is simply playing the story safely for the judges by staying close to tradition. However, Akane realizes that this is not quite right. Kaichi is not merely avoiding risks; he is actively reading the audience. He senses the mood in the room and chooses a plain, approachable delivery because that is what the spectators need after the previous performances and the harsh scoring atmosphere.

Kaichi continues with the uncle ordering Yotaro to clean the front of the shop. Yotaro is told to fill a bucket and use a ladle to sprinkle water outside, but he misunderstands the instruction and begins swinging the water back and forth in an exaggerated way. When corrected, he tries to follow the command literally, making an even bigger mess. The audience laughs at the physical absurdity, and Kaichi appears to grasp the rhythm of the room more deeply as the performance continues.

Kaichi’s “Golden Bamboo” continues with Yotaro misunderstanding his uncle’s instructions even further. When the uncle tells him to “swing” the ladle while sprinkling water outside the shop, Yotaro interprets the word physically and begins swinging his body around instead. The uncle has to shout that he means for Yotaro to swing the ladle, not himself. The exaggerated physical misunderstanding gets another big laugh from the audience and keeps the room firmly on Kaichi’s side.

As Kaichi continues, the observers realize that he is no longer performing a straightforward “Golden Bamboo.” He begins adding one extra gag after another, including bits where Yotaro makes cat noises, gets nervous, blanks out, misunderstands who is threatening him, and loses track of where his uncle has gone. Someone notes that the last part is not in “Golden Bamboo” at all, and then realizes that much of what Kaichi is doing has been added beyond the standard version of the story.

Kaichi’s performance becomes a showcase of every possible “wrinkle” he can throw into the story. Instead of keeping the piece plain for the judges, he fills the stage with extra expressions, reactions, and comic detours. His delivery makes Yotaro feel increasingly chaotic, but that chaos is controlled by Kaichi’s ability to keep responding to the audience’s laughter. The room is pulled along by his momentum, even though his approach is clearly much riskier than a clean traditional performance.

The other performers understand that reading the room and adding jokes when the audience is receptive is normal in an ordinary show. However, this is not an ordinary show; it is a judged selection round. Because Kaichi is openly leaning into audience response, his performance risks looking undisciplined next to Zenmai’s more straightforward attempt. One observer worries that if Kaichi pushes this far, Gakumon will judge the performance harshly and dismiss it as foolish.

Kaichi already seems aware of that risk. While Gakumon appears unimpressed and thinks the performance is stupid, Kaichi internally accepts that outcome. He is not trying to win over the traditionalist judge in the first place. Instead, he makes clear that he is chasing only one thing in this performance: the smiles of the customers.

Kaichi’s philosophy is then laid bare. If the audience is happy, then he is happy too, and for him, that is how it has to be. His performance is not built around protecting his own score or satisfying every category of the judging system. It is built around the service-minded belief that the person in front of him must leave smiling.

Kaichi’s attitude goes back to his time in sales. At his old company, he was surrounded by slogans about honesty, dedication, emotion, gratitude, and endless love for the customer, but the job itself was still measured through yearly sales numbers. Kaichi realizes that if he forgets the customers’ smiles and thinks only about results, then the work loses its meaning.

Kaichi’s decision to become a rakugoka is framed through that same realization. If all he did was chase numbers, then there would have been no point in quitting sales at all. His rakugo is therefore rooted in the same customer-first ideal he once tried to preserve as a salesman: he wants to stand before people, speak to them directly, and make them smile. The chapter ends with Kaichi’s past and present linked together, showing that his apparently reckless “Golden Bamboo” is actually an expression of the reason he entered rakugo.

Chapter 64
The chapter continues Kaichi’s “Golden Bamboo” while Gakumon watches with open disdain. From Gakumon’s perspective, Kaichi’s performance is not merely excessive; it is disrespectful. Rakugo is described as a traditional folk art, and Gakumon sees Kaichi as a mere zenza taking material passed down by earlier performers and rearranging it however he likes. To him, Kaichi’s added gags and audience-first style make light of a proud tradition.

Onstage, Kaichi moves into the next part of “Golden Bamboo.” Yotaro’s uncle leaves him in charge of the antique shop and tells him to ask his aunt if he needs anything. Soon afterward, a visitor arrives and says he has come on an errand for a man named Saikichi Kagaya in Nakabashi. Because Yotaro does not understand what the man wants, he calls for his aunt and says that some strange person has come to the shop.

The visitor then launches into the famous long speech of “Golden Bamboo.” He rattles off a complicated message about seven purchased items, including a wakizashi with decorative pieces, a pothook with a base of golden bamboo, a flower vase, an incense holder, a hanging scroll, and a folding screen decorated by Zen masters. The speech is packed with names, places, object descriptions, and wordplay, making it nearly impossible for Yotaro to follow.

The audience is left stunned by the sheer length and density of the message. Yotaro reacts by calling the visitor strange, while the more experienced observers understand that this long speech is the real centerpiece of “Golden Bamboo.” The appeal is not just that the message is difficult, but that the performer must deliver it smoothly enough for the audience to enjoy being overwhelmed by it.

The narration explains why this part of the story suits Kaichi so well. The visitor’s message is a thick, old-fashioned Kamigata-style business communication, full of specialized terms and repetitions. In another performer’s hands, it could simply become confusing. But when Kaichi delivers it, his background as a skilled salesman changes the texture of the scene. The speech no longer feels like a random wall of words; it becomes a rapid-fire business discussion, and that makes it a powerful weapon for him onstage.

Kaichi continues “Golden Bamboo” by finishing the visitor’s dense, old-fashioned business message. After racing through the long list of names, items, and instructions, the visitor casually sums it up as if it were only a brief explanation. The joke lands because the message is anything but brief, and Kaichi’s salesman-like delivery makes the complicated speech feel both overwhelming and strangely natural.

The scene then shifts into a flashback from Kaichi’s old sales career. In an office surrounded by paperwork and contracts, Kaichi sits across from a customer and successfully closes a deal. He thanks the customer politely and moves into the contract process, but inwardly he wonders when he lost the joy he once felt from seeing customers smile.

Kaichi remembers that, at first, he was genuinely happy when customers were pleased with his suggestions. However, the company’s values and the reality of the job did not always line up. Although the workplace preached honesty, dedication, gratitude, emotion, and love for the customer, Kaichi learned that customer satisfaction and company profit could clash. To hit quotas, there were times when he had to recommend products that were not necessarily the best fit for the customer.

Even when those sales succeeded, Kaichi felt conflicted. His coworkers congratulated him for making the sale, but he could not fully accept the praise because he knew he had only won by twisting the truth. What he had truly wanted was to sell something he could honestly recommend from the heart. Then, by chance, a customer gives him a ticket to an Issho Arakawa solo show after a business partner backs out.

That ticket leads Kaichi to rakugo. Watching Issho perform, Kaichi encounters something he feels is worth staking his life on. For him, Issho’s rakugo becomes the kind of “product” he had always wanted to believe in completely: something he could present to other people without shame or hesitation.

Kaichi later approaches Issho directly and bows before him, explaining that he wants to become a rakugoka because he wants to please the audience in front of him. Issho challenges his resolve rather than simply accepting him. He warns that many people come to him with similar hopes, only to give up, and says that a life spent making others laugh can also mean living without much laughter oneself.

Kaichi answers that he is prepared for that. Issho then accepts him, but with a severe condition: Kaichi must put good outcomes first and live up to the name he is given. Issho grants him the stage name Kaichi Arakawa, using characters associated with “joyous” and “one,” and warns that if Kaichi ever betrays that name, he will be expelled.

Kaichi’s flashback gives way to his present performance, where his reason for entering rakugo becomes clear. Unlike his old sales job, where he had to think about quotas and company results, rakugo lets him face the audience directly. Their laughter, smiles, and delight are what excite him most, and he feels that there is no greater joy than entertaining the people in front of him.

That attitude strengthens his “Golden Bamboo.” His delivery of the long Kamigata-style speech is not only memorized; it has sharp rhythm, clear enunciation, and strong projection. The observers realize that Kaichi’s performance is held together by more than practice. At the center of everything he does is a firm desire to entertain the audience.

Even so, Gakumon remains conflicted. He understands the appeal of Kaichi’s earnestness, but he still does not fully approve of the way Kaichi keeps adding gags and reshaping inherited material. To Gakumon, sincerity alone does not erase the possibility that Kaichi is damaging the work passed down by earlier performers. However, he also admits that it is rare to see someone so completely devoted to his audience.

Kaichi pushes the performance to its final comic height by adding another absurd bit, turning Yotaro’s foolishness into a frog-like gag. The audience bursts into laughter, fully swept up by his energy. Gakumon calls the performance stupid, but his reaction is no longer purely dismissive; even he seems forced to recognize the strength of Kaichi’s audience-first rakugo.

Chapter 65
After finishing his performance, Kaichi Arakawa bows and thanks the audience while the venue erupts in applause. The host announces that the performer was Kaichi Arakawa, and the scoring process begins.

Backstage, another contestant anxiously watches the judges enter their scores. He admits that Kaichi got a better audience reaction than he did, but hopes the judges will score him lower because Kaichi performed in the exact style that one of the older judges supposedly dislikes. However, the final result goes against his hopes.

Kaichi receives a total of 91 points in the Arakawa School selection round. His individual scores are 18 from Ikken, 20 from Ryujaku, 16 from Gakumon, 20 from the audience, and 17 from the stream. The high score shocks the waiting competitors because it is the first score in the nineties and immediately puts Kaichi in first place.

When the host asks Kaichi how he feels, Kaichi confidently answers with an old reference, saying that it feels good. Another contestant complains that younger viewers will not understand that kind of joke and wonders why Kaichi received so many points anyway. A nearby observer explains that the point is not whether everyone understands the reference, but that Kaichi can joke about it naturally.

Even after leaving the stage, Kaichi continues paying attention to the audience. His behavior shows that he remains consistent with his own style both during and after the performance. Akane recognizes from this that Kaichi is a strong opponent. The host then announces the end of Kaichi’s turn and says that the event will now take a fifteen-minute break.

During the fifteen-minute break, Kaichi checks his phone in the participant green room. Another contestant assumes he is looking himself up after receiving 91 points, but Kaichi explains that his wife and son are sending him their thoughts on his performance. His son’s messages are supportive and excited, saying his father did well and even commenting that he is “on TV.”

The others react warmly to the messages, but one contestant points out the burden behind Kaichi’s situation. He questions the decision to quit a stable office job and become a rakugoka while having a family to support. Kaichi acknowledges the concern, but says that if he cannot be happy himself, then there is no way he can make his family happy.

Akane is struck by Kaichi’s words. They remind her of a childhood memory from the day of her father’s important test. As a child, she pretended she was going to the bathroom, but her real goal was to go backstage and support her father before he performed. When an adult warned her that she was not supposed to enter the backstage area, Akane insisted she wanted to encourage him.

The memory connects Kaichi’s feelings to Shinta’s past pressure. Akane recalls the idea that if her father did not make shin’uchi, he believed he could not make his family happy. As she processes this, the break ends and a staff member calls for the next performer to get ready in the wings.

The lineup shows that after Zenmai and Kaichi, the next performer is Hikaru Arakawa, with Akane scheduled after her. Hikaru prepares to go onstage, and the others watch her in silence. Before Hikaru leaves, Akane calls out to her and asks if she has a moment.

Akane then accompanies Hikaru toward the wings. Hikaru asks whether Akane really wants to come with her, but Akane says there is nothing wrong with it. While walking, Akane casually remembers that she saw Hikaru’s photo book, which catches Hikaru off guard.

Akane’s casual mention of Hikaru’s photo book leads Hikaru to ask why Akane has it. Akane explains that Karashi gave it to her, describing him as the skinny guy from the Karaku Cup. The mention of the Karaku Cup immediately changes Hikaru’s mood. She remembers that earlier competition clearly, especially the order of performances: Hikaru had to perform after the day’s biggest laughs, and then Akane performed after her.

Hikaru points out that the current situation is similar. Kaichi has just scored highly and received a strong reaction, Hikaru is going next, and Akane will follow after her. Akane only realizes the parallel after Hikaru says it, but Hikaru admits that she has never forgotten what happened a year ago. Even though time has passed, the memory is still painfully vivid for her.

Hikaru remembers the Karaku Cup as a moment of humiliation. She recalls grinding her teeth, holding back tears, and feeling small and pathetic after Akane’s performance surpassed hers. She then tells Akane that she lied back then. Although Hikaru does love rakugo, her strongest feeling was not simply love for the art itself. What mattered most was Akane.

Hikaru directly reveals that she became a rakugoka so that she could beat Akane Arakawa. Akane is stunned by the confession, but Hikaru does not present it as hatred. She tells Akane that she does not hold a grudge against her and does not hate her. Instead, she has been waiting for Akane to finally recognize her properly.

Hikaru says that Akane is finally paying attention to her. Her real wish is not just to compete from a distance, but for Akane to watch her closely. As the host onstage announces the next performer, Hikaru makes it clear that this is Akane’s chance to see what she has become.

The host introduces Hikaru Arakawa as the third performer of the day. Hikaru walks onto the stage with composure, telling Akane to watch how she has polished her craft. Akane watches from the wings, visibly tense and focused, now understanding that Hikaru’s performance is aimed directly at her.

The audience immediately reacts with loud cheers simply because Hikaru appears onstage. Some spectators assume she must be a popular voice actor, showing that her public recognition is already influencing the atmosphere before she even begins performing. Among the judges, one comments that Ikken has once again chosen an eccentric pupil. Ikken accepts the criticism but pushes back on the wording, arguing that some achievements can only be reached by someone eccentric.

As Hikaru faces the audience, the attention around her carries several layers at once: her celebrity status, her identity as Ikken’s unusual pupil, her rivalry with Akane, and the proof of how much she has trained since the Karaku Cup. The chapter ends with Hikaru standing before the crowd, ready to show the kind of rakugo she has built in order to challenge Akane.

 

[Daniel]

Chapter 66
During a flashback, Hikaru shows up at Ikken's home in a relaxed and bright mood., asking whether “Kuma” is there. Someone welcomes her in and calls her “Kittsan,” but Ikken immediately stops her before the lesson can continue naturally. The abrupt shift establishes that this is not a friendly visit but another strict training session.

Ikken corrects Hikaru’s approach to characterization in rakugo. He explains that rakugo distinguishes characters through speaking style and wording, not through dramatic changes in tone. Because Hikaru comes from voice acting, he tells her to cut down on vocal styling and stop performing the way a voice actor would. Hikaru accepts the correction and prepares to try again, but someone interrupts to remind her that she has a work appointment soon.

Ikken ends the lesson for the day, but Hikaru asks for more instruction because she still has time. Ikken refuses. He tells her not to disregard her voice acting career, then says they will cover the same section again next time and orders her to practice it well. Hikaru obeys, but the moment shows her frustration: she wants to devote herself more intensely to rakugo, while Ikken insists that she not abandon the work she already has.

The flashback then reveals that half a year has passed since Hikaru became Ikken Arakawa’s apprentice. During that time, she feels as though she has only been repeating the same practice over and over. Rather than seeing steady progress, she feels trapped by repetition. Her frustration grows because she believes she should reduce her voice acting work to make more time for rakugo.

Ikken anticipates that mindset and tells Hikaru not to cut down on her voice acting jobs just to gain more practice time. When he asks whether that upsets her, Hikaru says no. Her reason is simple: she will accept it as long as it helps her beat Akane. The flashback ties Hikaru’s entire training mindset back to the rivalry established at the end of the previous chapter, showing that even her patience with Ikken’s repetitive methods is driven by her desire to surpass Akane.

Akane processes Hikaru’s confession from the previous moment. Hikaru became a rakugoka specifically because she wanted to beat Akane, and Akane realizes she never knew Hikaru carried those feelings. At the same time, Akane thinks about Hikaru’s current status: Hikaru is already successful enough to have a photo book and is also a very popular voice actor, so choosing to keep pursuing rakugo anyway must have taken serious dedication. Hikaru’s challenge makes Akane decide to watch her properly.

Hikaru tells Akane that she wants her to see how much she has polished her craft. Akane accepts the challenge directly, thinking that she will watch Hikaru. Onstage, Hikaru settles herself before the audience and begins her performance.

Hikaru opens with a story connected to hanami, or flower viewing. She describes how people share stories of flowers in the bathhouse and says that blooming flowers can bring out the worst in some people. Since the story is set in a time with little entertainment, flower viewing becomes one of the main sources of joy for ordinary people. Her narration then moves into the world of the story, where people are drawn toward the excitement of going to see the blossoms.

The scene shifts back to Hikaru’s training with Ikken. During practice, Hikaru performs a simple exchange between characters, calling out for Kuma and then answering as Kittsan. Ikken watches her closely as she runs through the routine, showing that this same basic scene has been part of her repeated training under him.

After watching Hikaru repeat the routine without complaint, Ikken decides that the time is right to change her training. He acknowledges how much she has practiced the same simple material, but then tells her to forget everything she has been doing so far. Hikaru is confused, but Ikken frames the next step as something simple rather than another round of the same correction.

Ikken explains that Hikaru should make use of the weapons she already has, rather than treating her voice-acting background only as something to suppress. The present performance then shows that idea in action. In the story, a man gathers Kin-chan and Han-chan after hearing that the next two or three days are the perfect time for flower viewing. He suggests they all go enjoy hanami together, but another character immediately shows a more serious attitude, saying he does not want the outing to become only an excuse to drink.

Hikaru’s performance begins to show the real answer to Ikken’s training. In the story, the characters discuss going flower-viewing together, but Hikaru does not keep them within the restrained, almost invisible character shifts usually associated with Edo rakugo. Instead, she clearly changes her voice for each role, making every speaker immediately distinct.

The audience notices the effect right away. Even people watching through the stream can tell when Hikaru switches characters, and one viewer is amazed that her voice changes instantly. Rather than forcing the audience to track subtle differences through small gestures alone, Hikaru makes the scene easy to follow through sound. Her voice acting experience, which Ikken originally told her to suppress, is now being used as a controlled weapon.

Akane watches closely and realizes what Hikaru is doing. The characters feel so distinct that the audience can understand who is speaking from the sound alone. This makes Hikaru’s rakugo especially effective for viewers watching remotely, because they can still absorb the story even through a screen. Karashi also notices this and understands that Hikaru has found a strategy perfectly suited for the streaming side of the competition.

Kaichi recognizes why the crowd is responding so well, but he also sees the risk in Hikaru’s approach. Her performance is far removed from the fundamental nature of Edo rakugo, where characters are usually distinguished through subtle shifts in speech, posture, direction, and rhythm rather than dramatic vocal changes. Hikaru herself seems aware of this criticism and reads the room, asking whether that is what people are thinking.

One of the judges then explains that Hikaru’s approach is not without precedent. There was once a rakugoka from the golden age of radio, before television became widespread, who performed rakugo for listeners by changing his vocal style for each character. Because radio audiences could not see the performer’s expressions or movements, he made the story understandable through voice alone. That rakugoka became enormously popular with the general public and helped expand rakugo’s reach.

This explanation reframes Hikaru’s performance. Her style may be unusual by strict Edo rakugo standards, but it follows the same principle as radio rakugo: “understand by listening.” The technique is simple in concept, but powerful. If each character is audibly clear and distinct, the audience can follow the story immediately, even without relying on visual cues. In Hikaru’s case, that clarity becomes especially valuable because the selection event is being watched both live and through a stream.

The judges also make clear that this is not something Hikaru could pull off with voice acting skill alone. A performer still needs a strong rakugo foundation to make use of such a technique properly. Hikaru’s months of repetitive training under Ikken now reveal their purpose: he forced her to polish the basics first so that her voice-changing ability would not become a shallow gimmick. Because her rakugo foundation has been strengthened, she can now use her voice acting background without letting it overwhelm the story.

The technique is finally named after an old form of entertainment from the seventeenth century, where a single blind performer would play instruments and create the voices of eight people by himself. Hikaru’s rakugo takes that same idea and brings it onto the stage: one performer sitting alone, yet making the audience feel as though multiple distinct people are speaking. This is Hikaru’s new weapon, the method she has refined in order to challenge Akane directly: Eight Blind Men.

Chapter 67
The chapter continues Hikaru’s performance while explaining why her “Eight Blind Men” technique is so unconventional. Creating a sharply distinct voice for every character is considered almost heretical within rakugo, but Hikaru uses that method as she portrays several men discussing what they should do for that year’s flower-viewing celebration. One of them proposes staging a play centered on revenge.

The four men devise a mock revenge drama. In their script, two brothers traveling across Japan on a Buddhist pilgrimage encounter a masterless samurai with whom they have an old score to settle. Just as the brothers are about to take revenge, a traveling rokubu monk intervenes and pleads with them to resolve the conflict peacefully.

Their planned story ends with the brothers and the ronin reconciling. The four performers then lead a lively procession filled with singing and dancing, hoping that the other people enjoying the cherry blossoms will become caught up in the excitement and join the celebration. The men enthusiastically approve the idea and begin preparing their improvised play.

As they rehearse, the characters in the play gradually become more realistic, blurring the boundary between fiction and reality. The cast also grows as the performance develops. When the day of the flower-viewing celebration finally arrives, a large crowd gathers around the supposed ronin and traveling brothers as they begin acting out their confrontation.

The staged sword fight continues longer than expected, leaving the performers wondering how much longer they must keep it up. The actor playing the rokubu monk is supposed to appear and stop the confrontation, but he has become caught up drinking with his uncle and has not arrived. With no one present to bring the scene to its planned conclusion, the other actors have no choice but to continue fighting.

The surrounding spectators become convinced that they are witnessing a genuine revenge battle and begin cheering the fighters on. One onlooker calls out to the traveling pilgrims, while a samurai in the crowd becomes so moved by their supposedly righteous quest for vengeance that he offers to join their side. The performers are stunned that someone from the audience is now trying to participate in the confrontation.

As more people become involved, the number of speaking characters rapidly increases. A rakugo story with so many participants would normally become difficult for the audience to follow, since it may be unclear which character is speaking at any given moment. Hikaru’s ability to assign every person a recognizable voice, however, allows the audience to follow the increasingly chaotic conversation without confusion.

As Hikaru’s “Eight Blind Men” technique draws attention, the idea that rapidly creating and switching between many distinct voices is simply part of a voice actor’s normal skill set is challenged. Although people might naturally associate the technique with her profession, the ability to produce such a wide vocal range and move between voices instantly is not something a person automatically gains through voice-acting work alone.

The scene shifts to an earlier conversation between Hikaru and Mr. Madoka. Hikaru explains that she has an older brother who is two years ahead of her. As a child, she constantly followed him around and joined the games he played with his friends. The boys could be cruel toward her, sometimes excluding her because she was a girl and claiming that she was too weak to be on their team.

Rather than discouraging Hikaru, their treatment only made her more determined to win. She would throw off her shoes and run barefoot when necessary, refusing to let the boys leave her behind. Looking back on those experiences, Hikaru believes she is still fundamentally that same fiercely competitive girl.

Hikaru says that this competitive nature remains at her core and is the reason she continues chasing Akane. She then tells Mr. Madoka that, in one sense, she is glad their rivalry is taking place through rakugo. When he questions what she means, Hikaru begins explaining what makes rakugo uniquely suited to the challenge she wants.

In rakugo, the performer sits alone on a cushion with nothing separating them from the audience. Hikaru believes that no other art form tests an individual performer’s ability so directly. As an actor, she wants to place her own skill under that kind of pressure and discover exactly what she is capable of.

Rakugo also gives Hikaru a setting in which she can compete against Akane on equal terms. She resolves to combine her voice-acting-based rakugo with everything she has accumulated throughout her years as a professional actor, treating all of that experience as a weapon for their confrontation.

Hikaru declares that this time, she intends to defeat Akane decisively. Mr. Madoka appears unsettled by the intensity of her determination. The scene then returns to Hikaru’s present performance, where the narration notes that it is currently August and the height of summer, even though the story she is performing is set far outside the appropriate season.

Hikaru’s thoughts turn directly toward Akane. Seeing Akane’s name reinforces the symbolism of the moment: the “cherry blossoms” are now in bloom, and the weapon Hikaru has sharpened for this confrontation is not merely for display. She resolves to use everything she has developed and finally take her revenge through the story she is performing, “The Hanami Revenge.”

Hikaru drives the performance forward with the full force of her specialized style. By giving the growing cast clear and immediately recognizable voices, she transforms the chaotic flower-viewing dispute into an energetic scene that the audience can follow without becoming lost. Her vocal performance brings the crowded fictional setting to life, and the spectators respond with loud laughter and excitement.

As Hikaru continues, her own enjoyment becomes visible. She performs with a genuine, satisfied smile while the crowd remains absorbed in the story, showing that her technique is not merely an artificial trick created to score points. Her voice acting and rakugo have become integrated into a single performance style.

Watching from the wings, Akane understands Hikaru’s strategy. Hikaru has combined her talents as a voice actor with the foundations of rakugo while deliberately accounting for the event’s streaming audience. Akane finds the approach interesting and recognizes that Hikaru is attacking the competition with everything she has, describing her as truly “going in for the kill” this time.

Karashi, watching Hikaru through the broadcast, remarks that her photo book could have used a smile like the one she is showing during the performance. Hikaru’s expression softens into an embarrassed but sincere smile as her performance continues.

Chapter 68
Hikaru finishes “The Hanami Revenge” to a loud, enthusiastic response from the audience. The host formally announces the end of Hikaru Arakawa’s performance as she bows and thanks everyone. Her popularity is also visible online, where stream viewers praise both her rakugo and her appearance, while one audience member is overwhelmed by how impressive she seems in person.

The event immediately moves into the judging phase, with the three judges, the live audience, and the streaming viewers entering their scores. The other contestants recognize that Hikaru has become one of the strongest competitors in the selection round. To take first place, however, she must surpass Kaichi’s score of 91 points.

As everyone waits for the total, Hikaru remains onstage and watches the results with a tense expression. The participants backstage are equally anxious, trying to predict how highly the judges and audiences rewarded her performance.

Hikaru receives 18 points from Ikken, 19 from Ryujaku, 17 from Gakumon, 19 from the live audience, and a perfect 20 from the streaming viewers, giving her a total of 93 points. She surpasses Kaichi’s 91 and moves into first place. Her performance also earns the selection round’s first perfect score from the streaming audience.

The others understand why Hikaru scored so well with the public. She already has many fans, and her voice-based style makes the story exceptionally easy to follow, particularly through a broadcast. However, her uniformly strong scores from all three professional judges prove that her result cannot be dismissed as a product of fame or popularity; her rakugo ability itself has been recognized.

Audience members discuss how Hikaru’s performance demonstrates that she is a legitimate rakugoka regardless of her celebrity status. Despite taking first place, Hikaru appears unusually calm and shows little outward excitement. The contestants backstage remark that all her preparation has paid off and wonder whether she could allow herself to look happier about the result.

Kaisei notices that Hikaru is still not celebrating despite taking first place with 93 points. He tells her that she obviously cannot feel satisfied yet because the opponent she truly wants to defeat is still waiting to perform. Hikaru turns her attention toward Akane, making it clear that surpassing Kaichi’s score was never her real objective.

Akane reflects on how much Hikaru has improved since the Karaku Cup, polishing both her rakugo fundamentals and her vocal abilities. She remembers Hikaru’s declaration that she became a rakugoka specifically to defeat her. That determination causes Akane to recall her own childhood vow to become a shin’uchi and prove that her father’s rakugo was great.

Akane then thinks back to the three possible approaches Maikeru gave her when helping her select a story. Kaichi chose an option that allowed him to disregard the judging process and perform in a way that fully used the strengths and experience he had already developed. Hikaru chose a story filled with immediately enjoyable characters that audiences would naturally love. Both selected material that let them make full use of their respective backgrounds and abilities.

Akane decides that she will follow neither of those approaches. Rather than choosing a story primarily designed to appeal to the judges or entertain the audience through familiar strengths, she chooses to perform something tied directly to the reason she became a rakugoka in the first place.

Elsewhere, Maikeru and Guriko watch the selection round together as the event finally reaches its closing performer. Maikeru excitedly announces that “Akaneru” is about to go onstage, while Guriko questions whether he will be able to concentrate after drinking so much. Maikeru jokes that nothing can truly intoxicate him except women, then notes that Koguma and Kyoji could not remain to watch because they both had meetings connected to upcoming events.

Maikeru tells Guriko that, although he is happy to watch Akane perform, Guriko is the person who truly wanted to see her take the stage. Guriko is confused by the remark, but before Maikeru can explain further, Shiguma arrives and comments that they seem to be enjoying themselves.

Maikeru invites Shiguma to join them because Akane is about to perform. Shiguma recognizes that they are watching Ikken’s public selection round, and Maikeru explains that Akane intends to perform one of the three stories he recently taught her. Shiguma asks which story she selected.

Maikeru reveals that Akane chose “Changing Time.” He emphasizes that it was Akane’s own decision rather than a story he assigned to her. Shiguma recalls Akane’s preparation and decides to stay and watch, which excites both Maikeru and Guriko.

At the venue, the host announces that only the final performer remains in the day’s selection round. Once the performance is complete, the finalists will be decided, determining which rakugoka will earn a place in Master Ikken’s four-person event. The judges, contestants, and other observers turn their attention toward Akane’s upcoming appearance.

The host announces Akane Arakawa as the final performer of the selection round. Kaichi, Hikaru, and the other contestants turn their attention toward the stage as Akane waits behind the curtain. Before stepping out, she gathers herself and quietly addresses her father in her thoughts, telling him that she is ready to begin.

As Akane walks onto the stage, she recalls being asked whether she still wanted to continue pursuing rakugo despite everything that had happened. Her answer was an immediate yes. She reaffirmed her goal of becoming a shin’uchi of the Arakawa school and making everyone, particularly Issho, recognize how great her father Shinta’s rakugo truly was.

Gakumon reflects that Akane’s feelings have never wavered since childhood. The remarkable skill she has already developed at such a young age demonstrates the strength of that conviction. However, he also recognizes the danger of such powerful emotions: when a performer’s feelings become too intense, they can turn into restraints that limit the performer rather than drive them forward.

Gakumon therefore focuses on how Akane presently views Shinta’s art. Since her entire career has been built around proving the worth of her father’s rakugo, the performance she is about to give could become a decisive turning point in her life as a rakugoka. Akane settles onto the cushion with a calm smile and invites the audience to relax and listen to her story.

Chapter 69
This chapter opens with a flashback to Akane’s school days. Her teacher assigns the class a two-page essay about “someone you respect,” explaining that the subject can be anyone from a family member to an athlete, singer, or fictional character. When a classmate asks Akane whom she plans to write about, she answers that she already has someone in mind.

Akane chooses her father, writing that the person she respects is Shinta Osaki. As she remembers watching him perform rakugo, she describes his ability to show the audience people and places that are not actually present. The young Akane was captivated by what she regarded as her father’s magic.

The scene returns to Akane’s present performance. She begins by comparing alcohol to a block of cold tofu: a drinker may start the evening crisp and composed, only to end it as a crumbling mess. She describes the pleasure of drinking until a person becomes so cheerful that they hum songs while walking down the street.

Akane physically portrays a drunken man stumbling home after a night of drinking. He congratulates himself on how good the alcohol was and sings as he counts the drinks he consumed, progressing from one drink to two, three, four, five, and finally a full six-pack. Through her posture, expression, and slurred rhythm, Akane establishes the man’s extreme drunkenness as she introduces the story “Changing Time.”

The drunken husband arrives home late and grandly announces his return to his wife. She is unimpressed and orders him to go to bed, but he refuses, declaring that he intends to continue drinking. His exasperated wife protests that he has already had more than enough. A spectator recognizes “Changing Time” as a story built around the comic exchange between a drunken husband and his fed-up wife.

Akane continues performing “Changing Time,” with the drunken husband demanding more alcohol after coming home late. His wife reluctantly gives him a drink, but when she asks whether he wants something to nibble on with it, he snaps back with a crude joke, telling her to nibble on her fingernails instead. The audience laughs, while Gakumon observes that this is a difficult story for someone as young as Akane to perform.

The wife then tries suggesting different side dishes. She asks about salmon, but the husband says he already ate it. She brings up leftover natto from the morning, even describing it down to the “36 soybeans” left behind, but he repeats that he ate that too. When she begins asking about another possible dish, he cuts her off before she can even finish, insisting again that he already ate it.

The joke lands when the wife protests that she had not even said what the food was yet, asking whether he thinks she is him. The audience bursts into laughter, and Gakumon recognizes that Akane is performing the story skillfully despite the fact that it does not naturally suit her. To him, that proves she has a wide range as a performer.

The other observers also acknowledge Akane’s growth. Kaisei understands why people call her “the next Kaisei,” and another contestant admits that, purely in terms of rakugo skill, Akane may be the best of the group and has improved even more since the Karaku Cup. However, the praise comes with a major reservation. Compared with Kaichi and Hikaru, Akane’s performance lacks immediate impact.

That contrast becomes the central issue. Kaichi used his own personality and audience-first style to leave a strong impression, while Hikaru used her voice acting and “Eight Blind Men” technique to make her performance instantly memorable. Akane’s “Changing Time” is polished and emotionally grounded, but it does not yet have the same obvious hook. Meanwhile, Maikeru reflects that until now, Akane had never seriously considered what kind of rakugoka she herself was.

Maikeru explains that the three stories he offered Akane were meant to make her think about that exact question. The story she chose may not have matched her natural “nin,” or personal suitability, but her connection to her father allowed her to recreate the family emotions between the husband and wife. Watching the performance, Maikeru admits that Akane sounds even better than she did during her final practice session, though he still begins to consider what separates her from the previous two performers.

Maikeru continues analyzing Akane’s performance and identifies what separates her from Kaichi and Hikaru. Her strength does not come from an obvious hook, a flashy technique, or a story that immediately overwhelms the audience. Instead, it comes from how much time she has spent looking inward and staying attuned to her own heart. That inner connection gives her “Changing Time” a personal emotional weight, even though the story itself is not naturally dramatic.

Guriko wonders whether the story itself is also helping her, but Maikeru explains the difficulty of Akane’s choice. “Changing Time” does not have major dramatic scenes or rapid developments, so it does not easily create the same immediate impact as Kaichi’s energetic audience-first style or Hikaru’s voice-driven “Eight Blind Men.” In the current competitive situation, if Akane had simply chosen a different story for scoring purposes, Maikeru believes Shinta’s “Changing Time” would still have come out on top for her.

Guriko is surprised that Maikeru still calls it Shinta’s version even though Akane is the one performing it. Maikeru explains that a lesson can only pass down the form of a story. A master can teach structure, rhythm, phrasing, and technique, but that alone does not make the story truly belong to the performer. For a story to take on its own flavor, the performer must spend years listening to their own heart, testing small choices, and gradually shaping the piece through lived experience.

From that normal perspective, Akane is only at the starting line. She has learned the form of “Changing Time,” and she has deep emotional reasons for choosing it, but she has not yet had the years of personal refinement that would usually allow a rakugoka to fully make a story their own. Maikeru therefore recognizes that, under ordinary circumstances, Akane’s current version would still be immature compared with Shinta’s.

However, Maikeru also realizes that Akane may be an exception. Most artists refine their craft gradually over time, but Akane has been chasing Shinta’s art and her own roots ever since the day her father was expelled. Because her entire path as a rakugoka began from that wound, “Changing Time” is not merely a story she recently learned. It is tied to the very reason she entered rakugo in the first place.

As Akane continues performing, the recent words of others flash through her mind. She remembers Hikaru declaring that she became a rakugoka in order to defeat Akane, and she remembers Maikeru asking what kind of rakugoka Akane herself wants to be. Akane still does not know the full answer to that question. She cannot yet clearly define her own identity as a performer.

Even so, Akane realizes that there are things within her that will not waver. She may not yet know exactly what kind of rakugoka she is, but she does know why she became one. She has a reason for pursuing rakugo, and she has an art that she wants to express to others. That foundation is not something she doubts.

Akane’s answer returns to her childhood admiration for Shinta. She became captivated by what she saw as her father’s “magic”: his ability to create people, places, emotions, and entire scenes through rakugo. At the same time, she remembers the pain behind that magic, including Shinta’s belief that he had to become shin’uchi or else he could not make his family happy.

Gakumon watches Akane with a serious expression, sensing that this performance is forcing her to confront the image of Shinta that lives inside her. The chapter ends on that question: what version of Shinta does Akane see now? Her performance of “Changing Time” has become more than a contest entry; it has become a test of how she understands her father, his rakugo, and the feelings that have driven her since childhood.

 

[Daniel]

Chapter 70
This chapter opens inside Akane’s performance of “Changing Time,” but her concentration turns inward. While she is still sitting onstage, Akane suddenly remembers the painful image of her father Shinta telling himself that he had to become shin’uchi or he would not be able to make his family happy. She wonders why that memory is surfacing at this exact moment.

Akane thinks again about the contradiction at the center of her feelings. She loves her father’s rakugo and wants the world to recognize its greatness, but the memories attached to that art are not only happy ones. She remembers Shinta’s desperation after only a small number of people came to his solo event, and she begins to feel the weight of what proving his rakugo has meant to her. Even so, she continues the story in front of the audience.

In “Changing Time,” the wife tries to take care of her drunken husband by offering to buy him oden to go with his sake. Instead of accepting, the husband reacts as though she is abandoning him and asks why she is trying to leave. Akane plays the exchange with a subdued emotional tone, making the husband’s drunken neediness stand out more than the surface-level joke. Some observers interpret this as a lack of energy and think she may have already given up on winning.

Other viewers are not so quick to dismiss her. One observer says a performer has only truly lost once they have actually given up, but the practical problem remains clear: Akane’s skill may be strong enough to earn high marks from the judges, yet the audience reaction is not explosive. Compared with Kaichi’s direct crowd appeal and Hikaru’s voice-driven spectacle, Akane’s performance is quieter and less immediately attention-grabbing.

The spectators break down the remaining structure of “Changing Time.” From this point onward, the story is expected to reveal the husband’s love for his wife and end with a foolish punchline. Because there is no obvious major twist or flashy moment left, they conclude that Akane has little chance of raising her audience or streaming scores enough to catch Hikaru. From their perspective, Hikaru has already won fairly.

Akane then reminds herself not to waver. She chose to use her father’s art and win in her own way, so she cannot let doubt overtake her now. However, that resolve is immediately complicated by another memory or inner vision, where someone notices her anxiety and asks why she looks so worried.

The scene shifts into a quiet, symbolic space resembling a park. Akane stands in her kimono before a younger version of herself, who sees through her hesitation. The younger Akane suggests that the reason she looks so troubled is because she is no longer completely sure of herself.

Akane’s inner confrontation continues while she is still performing “Changing Time.” The younger version of Akane tells her that, after becoming a rakugoka, she has met many different performers and faced the strength of their feelings directly. Kaichi’s desire to make his family happy, Hikaru’s determination to defeat Akane, and the conviction of other rakugoka all make Akane realize that their feelings are different from Shinta’s. After confronting her father’s nin, she reaches a painful conclusion: Shinta Arakawa was a weak person.

However, younger Akane immediately challenges that conclusion. She remembers the idea that rakugo stories are a performer’s friends and asks whether that means weak people cannot have friends. This question forces Akane to reconsider what weakness means in rakugo. If stories can become friends to the performer, then Shinta’s weakness does not necessarily mean his art was inferior or false.

Akane then asks whether a rakugoka has to be strong. The question brings back a memory of Shinta telling her to listen carefully as he begins explaining what rakugo truly is. This memory interrupts the harsh judgment Akane had started to place on him, suggesting that the answer lies not in comparing Shinta to stronger or more forceful performers, but in understanding the nature of the art he was trying to show her.

The performance returns to “Changing Time.” In the story, the drunken husband rudely orders his wife to go out and buy him oden, even calling her a “homely wench.” After she leaves, however, the mood shifts. Sitting alone with his sake, he complains that she has gone after waiting all night for a drunk like him to come home, but his words begin to reveal what he actually feels beneath the bluster.

The husband admits that his wife is a good woman and a good wife, even too good for someone like him. Through this moment, Akane begins to understand something about Shinta’s rakugo. Until now, she treated her father’s art as something incredible and almost magical, a dream she had been chasing since childhood. Because she admired it so intensely, she lost sight of what kind of person and performer Shinta actually was.

Akane realizes that Shinta is not strong like the performers she has been comparing him against. He is not the same as the people whose overwhelming conviction, ambition, or presence pushed them forward. But rather than making his rakugo lesser, that weakness may be central to it. In “Changing Time,” the drunken husband puts on a stubborn Edo-style front to hide his real feelings, and Akane begins to connect that emotional vulnerability to the true nature of Shinta’s art.

Akane reaches the heart of “Changing Time” as the drunken husband speaks honestly while he believes his wife is gone. Although he had insulted her moments earlier, he now admits that he is full of gratitude toward her and says he would be nothing without her. He calls her the sun in his sky, and through those words, Akane realizes what truly moved her about Shinta’s rakugo: the people in his stories were kind, warm, and painfully human. What she loved was not a powerful or heroic version of her father, but the weakness inside his art.

The wife then reappears before the husband can hide what he has said. Instead of continuing the emotional confession, he immediately snaps back into his drunken arrogance and yells at her to go out and buy his oden. The audience bursts into laughter because the story’s warmth and foolishness collide in the same moment: the husband clearly loves his wife, but he is too proud and ridiculous to say it properly when she is actually in front of him.

The performance reframes what rakugo stories are. They are not tales of grand heroism or perfect people. They are stories about ordinary humans who fail in all kinds of ways: proud men, drunks, lechers, fools, and people who cannot honestly express what they feel. Through Akane’s performance, that imperfection becomes the point rather than something to overcome.

Akane understands that weakness itself can become a weapon in rakugo. It is not shameful for a performer or character to be weak, because weakness is another part of human experience. Shinta’s rakugo did not shine because he was a strong, overwhelming figure like the rakugoka Akane has recently faced; it shined because he could portray fragile, flawed people with warmth. That is the quality Akane had been chasing without fully understanding it.

As Akane reaches that realization, Maikeru smiles while watching her performance. He recognizes that she has finally grasped the answer she needed from “Changing Time.” Akane’s expression brightens with renewed confidence, and Maikeru says that she has figured it out.

Chapter 71
Akane’s “Changing Time” continues with the drunken husband trying to recover from the embarrassment of his wife overhearing his honest praise. Instead of admitting his feelings directly, he snaps back into his rough attitude and tells her to stop listening to his nonsense. He then orders her to go buy something to eat with his sake. Once she actually leaves, he relaxes and mutters that she is finally gone, still flustered that she heard everything he said.

The husband’s embarrassment then becomes part of the emotional comedy. He blushes and wonders how he is supposed to act around his wife the next day after accidentally revealing so much of his true affection. The audience understands the awkwardness of the moment, and the judges begin to grasp what Akane is doing with the story.

Akane’s performance shifts the audience’s perspective on the husband. At first, he seemed like a crude, selfish drunk, the kind of person who bullies his wife and hides behind a loud Edo-style front. But the more the audience sees his actions and hears what he says when he thinks no one is listening, the more they understand that he is not simply a bad or foolish man. Like someone who looks frightening from the outside but is actually kind underneath, the husband becomes more layered once his hidden feelings are revealed.

This is where Akane begins showing the real strength of Shinta’s rakugo. She brings out both sides of the character at once: the bold, abrasive exterior of an Edo native and the warm sentiment underneath it. By depicting the husband as someone with multiple sides, she makes him feel less like a stock comic drunk and more like a real person with pride, embarrassment, affection, and weakness all tangled together.

That layered portrayal pulls the audience deeper into the story. The closer they feel to the characters, the sharper and more vivid the story world becomes, as if the “resolution” of the image has increased. Observers realize that this is extremely difficult to do, and one admits that although they had heard rumors about Akane, they did not expect her to be this skilled at depicting people. Through “Changing Time,” Akane turns an ordinary domestic comedy into a richer human scene, drawing the audience further into the world her father’s art taught her to see.

Gakumon becomes absorbed in Akane’s performance, thinking that it has been a long time since he listened so intently to a zenza’s rakugo. In “Changing Time,” the drunken husband thanks the udon shop owner and mutters that he likes his sake served hot, only to add that his wife did not heat the bottle for him. The story continues to show how his complaints and affection are tangled together.

The wife returns with sake, and the husband is immediately delighted by the hot drink. However, she has misunderstood what he wanted. Instead of buying the oden he asked for, she went to buy udon noodles to go with the sake. The husband is stunned, and she begins to realize her mistake.

The husband then admits that he actually hates udon, forcing his wife to scramble for another option. She suggests buying ozoni soup instead, but he explodes again, saying he is not asking for either udon or ozoni. He complains that he has somehow run into a nightmare of a person while just trying to get drunk, turning the wife’s misunderstanding into another comic beat.

As the audience laughs, Gakumon reflects on Akane’s growth since the Karaku Cup. He remembers seeing her as a noteworthy talent with the nerve to confront a great master directly, and he understands why Kaisei tried to recruit her. From Gakumon’s perspective, Akane’s boldness, disposition, and confrontational spirit seemed like qualities that would fit the Issho school.

However, Akane’s current performance challenges that assumption. Her rakugo is not built around overpowering the audience or imposing herself on the stage. Instead, it invites empathy and draws people gently into the characters’ feelings. Gakumon realizes that this kind of art is the opposite of the forceful style he associated with Akane’s personality, and he had believed it was not suited to her strengths.

The performance makes Gakumon reconsider. Although he once thought there must be another kind of rakugo better matched to Akane, her portrayal of weakness, embarrassment, and warmth proves that she has grown into a performer shaped by the Shiguma school. Elsewhere, Maikeru watches with quiet satisfaction, saying that Akane has truly become a member of Shiguma’s school, and he thinks back to when he gave her the three story options.

Maikeru continues explaining the meaning behind Akane’s choice of “Changing Time.” The other two stories he offered her were designed to bring out strengths she already had, but “Changing Time” demanded that she develop something new. It was the hardest option, but also the one with the greatest potential reward, because succeeding with it would expand her range as a rakugoka more than the safer choices.

Akane accepts that risk and turns the story into her own performance. Maikeru reflects that in rakugo, even subtle differences in a performer’s personality, outlook, inflection, and life experience can completely change the final result of a story. Akane is not simply copying Shinta’s version anymore; she is beginning to filter the story through herself.

The people watching recognize that Akane is getting closer to the answer she has been searching for. Her performance has not fully reached its final form yet, but it is approaching the heart of what she needs to understand about Shinta’s rakugo and her own path. As Akane continues, she receives silent encouragement from those who know how important this moment is, with the hope that she can win the selection round through the answer she is finding onstage.

The scene then shifts away from the venue to Akane’s father watching the livestream from home. He receives a message asking whether he is actually watching Akane’s rakugo, and he replies that she told him to watch it. His reaction recalls Masaki, suggesting that Akane’s persistence and ability to pull people into her rakugo resemble her mother’s influence as well.

As he watches Akane perform, her father notices that the stream quality is poor and says that everything looks blurry to him. However, his expression makes it clear that the blurriness is not only because of the video quality. Seeing Akane perform the rakugo tied so deeply to him moves him emotionally, and the chapter ends with him quietly watching his daughter’s performance through tears.

Chapter 72
The chapter continues Akane’s “Changing Time” after she has begun bringing out the warmth inside Shinta’s rakugo. In the story, the wife returns home with enough food for her husband to eat with his sake. Even though she complains that he is always causing trouble, Akane’s portrayal keeps the wife from seeming purely angry. Her frustration is mixed with care, showing that she understands exactly what kind of man her husband is and still looks after him anyway.

When the wife gets back, she finds something completely unexpected: their house has turned into a lively drinking party. Music is playing, people are singing, and strangers are gathered inside as if the husband has casually converted the place into a performance space. She is shocked and immediately asks what is happening in her own home.

The husband cheerfully greets her and explains the situation as though nothing is wrong. He says he met someone who claimed he could play the shamisen, so the husband asked him to show what he could do. It turns out the man can accompany gidayū poetic ballads, and the gathering has erupted into music and dancing. The husband is completely swept up in the fun, while the wife can only stare in disbelief at the chaos that has appeared in their house.

The wife then notices the sake bottle and remembers that she forgot to warm it. She immediately offers to heat it for him, but the husband tells her it is already warm. He explains that a passing udon seller heated the bottle for him, which makes the wife assume he must have ordered udon from the man in return.

The husband bluntly denies it, saying no drunk wants to sit around slurping udon noodles while drinking. That answer infuriates his wife. She scolds him for being selfish and taking advantage of a poor working man, turning what could have been a simple food joke into another example of Akane’s focus on human feeling. The husband may be foolish and inconsiderate, but the wife’s reaction shows her compassion for someone outside their household as well.

Akane pushes the scene into a lively comic beat as the wife decides that, if her husband will not eat the udon, she can at least manage a bowl herself. She asks where the udon seller went and prepares to chase him down. The audience watching the stream follows the callback, recognizing that this is the same udon seller mentioned earlier, and the scene’s comedy lands through the wife’s mixture of anger, practicality, and kindness.

As Gakumon watches, Akane’s performance makes him think of the Shinta he knew. He remembers Shinta as too hard-working and very kind, but also fragile at times. Shinta was not a forceful or invincible performer, yet when faced with the unpleasant sides of humanity, he had a gift for scooping up the warmth hidden underneath. Through Akane’s “Changing Time,” Gakumon begins to see that quality again.

Gakumon continues thinking about Shinta while watching Akane’s “Changing Time.” He recognizes that Shinta was a man who could speak profoundly about the weakness of the human spirit. However, he also understands that if Akane only sees Shinta through admiration, strength, and inspiration, she will never reach the real depth of his rakugo. Shinta’s art was not rooted in overwhelming force; it came from his ability to understand fragile, imperfect people.

As Akane performs, Gakumon senses that she may have finally stepped beyond simply chasing her father’s image. Rather than staying trapped in Shinta’s shadow, she is beginning to understand what his rakugo actually expressed. This realization changes how her “Changing Time” feels: it is no longer just Akane trying to reproduce Shinta’s art, but Akane beginning to absorb its essence for herself.

Inside the story, the wife reaches the udon seller after leaving the house again. The seller and another man notice her calling for him, but when they see her, they panic because she has returned with the sake bottle in hand. They assume that her husband has probably finished the bottle already and that she has come back to get more sake heated.

The setup turns into the final punchline. The wife is shown running back with the bottle, and someone points out that she is carrying it in her hand. Akane delivers the ending: the wife is “ready for a change.” With that, Akane brings “Changing Time” to its conclusion, and the audience applauds.

After the story ends, Gakumon reacts with interest rather than simple judgment. He says there is a real, pleasant flavor to Akane’s performance, and begins to explain what it tells him about her rakugo.

After Akane finishes “Changing Time,” the audience gives her a strong round of applause. The judges and other performers watch in silence, and the reaction around the room is more contemplative than explosive. One observer struggles to decide how to evaluate her because Kaichi and Hikaru’s performances were both much funnier and more immediately exciting, yet Akane’s performance leaves a different kind of impression.

That feeling becomes the key point of the discussion. Akane’s “Changing Time” may not have produced the biggest laughs, but it is the performance that most deeply moved the observer. When asked which performance is “better,” another person questions whether one of them has to be better at all. The moment frames the three leading performances as fundamentally different kinds of rakugo rather than simply stronger or weaker versions of the same thing.

The comparison then broadens into a statement about rakugo itself. The fact that people can enjoy rakugo in so many different ways is described as one of the art’s strengths. Kaichi’s audience-first energy, Hikaru’s voice-driven clarity, and Akane’s warm human portrayal all reached people differently, showing that rakugo does not have only one correct form of appeal.

The host thanks everyone and calls all of the day’s performers back onto the stage for the final judging. The contestants line up together, and the event shifts from individual performances to the final announcement. Hikaru is currently in the lead with 93 points, so the central question becomes whether Akane can surpass her score or whether Hikaru will keep first place and secure the available slot in Ikken’s four-person event.

As the scores are tallied, the tension spreads beyond the venue. Viewers watching from elsewhere wait for the result, including people connected to the performers and the rakugo world. The event’s outcome now carries several layers: it will decide the winner of the selection round, determine who joins the four-person event, and reveal how Akane’s quieter, more emotionally layered performance compares against Hikaru’s current leading score.

The judges and performers wait as the host prepares to announce the final score. Attention narrows to Akane and Hikaru, whose performances have become the decisive contrast of the round. Just as the announcement reaches Akane Arakawa’s total, the chapter cuts off before the score is revealed.

Chapter 73
This chapter begins with the selection round’s final result hanging over Akane and Hikaru. Hikaru’s total stands at 93 points, so Akane’s score will decide whether she can overtake her rival or whether Hikaru keeps first place. The announcement focuses on the two of them, emphasizing that Akane’s performance of “Changing Time” has brought the competition to its decisive moment.

Akane receives strong scores from the professional judges and the live audience: 19 from Ikken, 19 from Ryujaku, 18 from Gakumon, and 20 from the audience. However, her streaming score is only 16, bringing her total to 92 points. This puts her just one point below Hikaru’s 93.

The winner of the Arakawa School selection round is therefore Hikaru Arakawa. The venue erupts as Hikaru’s name is announced, while Akane stands quietly beside her. Hikaru’s victory is not overwhelming in every category, but the final total is enough to place her above Akane and secure the win.

The score breakdown shows that the decisive difference came from the streaming audience. Akane actually matched or surpassed Hikaru in several areas, especially with the live audience, where Akane received a perfect 20. However, Hikaru’s perfect 20 from the stream gave her the advantage, while Akane’s 16 from the stream prevented her from catching up.

The observers explain why that happened. Akane’s performance may have captured the audience sitting in front of her, but it did not fully reach the people watching through the screen. Her opening was described as a little stiff, and once a performer fails to grab an audience early, winning them back becomes difficult. Hikaru’s style, by contrast, was especially suited to streaming because her character voices were clear and instantly understandable even without the live atmosphere.

Still, Akane’s performance leaves a strong impression on the judges. Gakumon describes it as nostalgic and says it reminded him very much of Shinta, both before and after Akane’s transformation during the performance. Even though Akane loses the selection round by one point, her “Changing Time” proves that she has begun touching the heart of her father’s rakugo rather than merely imitating it.

Hikaru reacts to the result with frustration rather than simple joy. Although she won the selection round, she screams because Akane was ahead of her in every scoring category except the streaming audience. The overall victory belongs to Hikaru, but the breakdown shows that Akane still surpassed her in the eyes of the judges and the live audience, making Hikaru’s win feel incomplete to her.

After the event ends, the performers begin leaving the venue. In the hallway, one contestant says that it is over and admits that all he did was embarrass himself. However, Kaisei notices that the contestant actually seems happy about something and asks him why. The contestant reveals that he received a performance offer from Master Ryujaku, and he takes pride in the fact that people with a good eye for talent recognized him. He then realizes he has been invited to the same event as another performer and excitedly celebrates the opportunity.

Meanwhile, Hikaru confronts Akane directly and asks whether Akane is going to quit rakugo. The question connects back to Hikaru’s earlier confession: she became a rakugoka because she wanted to beat Akane. Since Hikaru won the selection round but still lost to Akane in most of the individual scoring categories, the result does not give her the clean victory she wanted.

Akane answers without hesitation that she will not quit. Instead of sounding defeated, she tells Hikaru that Hikaru should be ready for next time, because Akane intends to completely defeat her then. Hikaru smiles and accepts the challenge, turning the result into the beginning of a sharper rivalry rather than the end of their competition.

The other contestants react to Akane and Hikaru’s exchange with excitement. One calls it a proper rivalry and compares it to his own memories of student athletes fighting over who would become a starter. He also admits that being excluded hurts, because all of them are part of the same school and are chasing similar opportunities.

That mood spreads through the group. Another contestant insists that people should not rank each other based on one bad performance, arguing that his showing this time did not represent what he is truly capable of. As he gets fired up, the others respond with a mix of skepticism, teasing, and encouragement. Rather than ending with only Hikaru’s win and Akane’s loss, the selection round leaves the younger performers more competitive and determined to prove themselves next time.

After the selection round ends, the performers leave the venue and say their goodbyes. Akane checks her phone and sees messages from the others saying that they are all at Master Shiguma’s house and that she can stop by if she feels like it. At first, she starts typing that she will come over, suggesting that she is trying to carry herself normally despite the loss.

Before she leaves, Akane notices that Kaisei is still nearby. He explains that Master Ikken called him and says that he is in a hurry, but he still stops long enough to speak with her. Kaisei tells Akane that the stage is not really the place to go searching for oneself. His comment directly touches the weakness of her performance: Akane found something important during “Changing Time,” but that process of self-discovery happened in the middle of a competition where she needed to win.

Kaisei then adds that the second half of Akane’s performance was not bad, and calls the result a shame. The remark is blunt, but not dismissive. He recognizes that Akane reached something meaningful after her performance changed, yet by then the earlier stiffness had already cost her too much, especially with the streaming audience.

Akane responds quietly that she would have liked to perform at the same event as him. After Kaisei leaves, she looks back at her phone. Instead of going to Shiguma’s house, she changes her reply and says she will pass for the day. The others can tell from the message that she is not in the mood to celebrate or be comforted.

Akane then walks alone through the city. The chapter slows down into a quiet sequence of streets, train gates, vending machines, and open sky, showing her moving away from the noise of the selection round while trying to process the result by herself.

As she walks, Akane begins murmuring the opening lines of “Jugemu” under her breath. The choice of words links her back to the Karaku Cup and to the first major moment when her rakugo reached people. However, this time the repetition does not feel triumphant. It feels like she is clinging to rakugo while the disappointment finally catches up with her.

Akane starts crying in the street, tears streaming down her face. Even though she acted composed after the results and challenged Hikaru to a rematch, she can no longer hide how deeply the loss hurt. Her tears reveal that this was not just another competition to her.

The chapter ends with Akane admitting the real source of her pain: she wanted to win with her father’s story. She wanted it desperately. She continues repeating “Jugemu” as she cries beneath the sky, showing that even after discovering something important about Shinta’s rakugo, the failure to prove it through victory still weighs heavily on her.