The four former editors of Vampire Knight and Vampire Knight Memories each chose their favorite manga scenes and shared them as farewell messages in Lala Magazine DX (2025/09, Hakusensha).
The current editor chose VKM Vol. 11’s title, “Memories from You,” where Kaname awakens to his true self and his desires. The other editors picked Zero’s first bite of Yuuki, Kaname’s rebirth as a human, and Kaien’s death.
“Kaname-sama carried tens of thousands of years of hunger and loneliness, yet never abused his power to satisfy his own desires, instead quietly letting things go and suppressing that longing deep within himself.
It was precisely such Kaname-sama who, after losing his memories, for the first time truly followed his heart and reached out his hand toward what he desired. Hearing words from him that sounded almost like self-punishment, meeting those eyes that were quiet yet unwavering, makes one want to cry and beg him not to keep saying “I have no right”, but also brings an overwhelming joy at the fact that he has finally acknowledged his own longing. This complex, conflicting emotion is almost suffocating."
幾万年: typically used in a poetic, dramatic, or exaggerated context to refer to a vast, nearly incalculable span of time
幾 (iku): How many / some / several
万年 (man'nen): Ten thousand years
The Editors and Hino Matsuri summarized the entire VKM story with the phrase:
「追憶と再生の物語、遂に完結――」
"The story of reminiscence and rebirth, at last, comes to its conclusion"
And Kaname and Yuki’s relationship was described as:
「幾星霜の愛を辿って――」
"Tracing a love that has endured countless eons of stars and frost"
~A love that traverses the passage of time. is the core title & epitaph Hino wrote it for Kaname and Yuuki
幾星霜(ikuseisou): It is a poetic, somewhat archaic Japanese compound (literally meaning "how many stars and frosts") used to reflect on the long passage of time, enduring through seasons, or recalling the heavy weight of history.
And Hino used this phrase twice for Kaname and Yuuki:
「さぁ、この手をとって。」
"Come, take this hand of mine."
「幾星霜の話をしよう。」
“Let us speak of countless years of stars and frost.”
「罪の告白のように、愛を告げる。」
"Confessing love, as if whispering a confession of sin."
So putting it together, the time here is not just something that passes, but something endured and survived, carried like memory itself: beautiful, heavy, and impossible to undo.
「さぁ、この手をとって。幾星霜の話をしよう。」 "Come, take my hand. Let us speak of tales that span countless years of stars and frost." In the visual layout, Kaname is shown enveloped by shadows in the corner, while Yuuki arrives carrying light and blue roses.(In nature, true blue roses cannot exist, as roses lack the gene for blue pigment. Blue roses were originally said to symbolize the impossible: things that could never exist, miracles that would never be realized, desires forever out of reach. So when Yuuki approaches Kaname carrying light and blue roses, she brings a miracle to him.)Her presence softly glows as she reaches out her hand to the man who had always been hiding alone in the darkness, inviting him, at last, to speak of the desires he had buried for thousands of years.
And this time, he did.
「目覚めのキスのように。罪の告白のように、愛を告げる。」 "Just like an awakening kiss. Confessing love, as if whispering a confession of sin.". Kaname has always seen his desire for Yuuki as a sin. But Yuuki reaches out her hand and asks him to speak it aloud. What was once guilt becomes a confession of love, and the soul that spent ten thousand years alone in the darkness is finally allowed to step into the warmth and light of the world she created for him.
They disappeared together. Never apart again.
And so the story of 「幾星霜の愛」 finally reaches its conclusion.
「幾星霜の愛を辿って――」
"Tracing a love that has endured countless eons of stars and frost"
「目覚めのキスのように。罪の告白のように、愛を告げる。」
"Just like an awakening kiss. Confessing love, as if whispering a confession of sin."
「さぁ、この手をとって。」
"Come, take this hand of mine."
「幾星霜の話をしよう。」
“Let us speak of tales that span countless years of stars and frost.”
Vampire Knight Original Art Exhibition (2025) and Matsuri Hino’s Statements ※Updated version
※Added the following section: On the dictionary meanings of ren (恋) and ai (愛) in Japanese
※Added the following section: Cultural-context interpretation of the voice drama and excerpts from the original text
I attended the Vampire Knight original art exhibition (2025) and would like to share some information.
In this post, I am including the original art pieces displayed as the finale of each area, the original art pieces selected as bonuses for the final volume, the scenes that use two-page spreads, and the works that were highlighted in the exhibition.
Separately from the exhibition, I will also mention some of Matsuri Hino’s past comments.
The following content contains OT3 materials. Please proceed at your own discretion.
About which scenes were selected
Normally, at a manga original art exhibition, the artist decides which pieces to display and which ones to highlight.
Because there are so many works, it’s impossible to post all the exhibited works. Instead, I’ll show them according to the selection criteria used by the creator side.
The exhibition was divided into five areas following the flow of the story, and each area was given its own title. Below, I’ve shared the original pieces for the final scene in each area.
There were vertically long manuscript pages that were framed individually, as well as sets of two pages framed together. Below, they are photographed exactly as they were displayed in the exhibition.
Ⅰ. 真実 Truth←※area title
Ⅱ. 渇望 Thirst
Ⅲ.祈り Prayer
Ⅳ. 追憶 Memories
Ⅴ(Secret Area). 幾千の夜の果てに At the end of thousands of nights
▲the last original piece of the manga
※Since photography was not allowed in the secret area, I used the same image here instead.
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The pieces of the scenes selected as the Animate bonuses for the final volume of Memories
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The scenes using two-page spreads (often called 見開き大ゴマ)
▼the three main characters
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The same scenes as those reproduced for sale at the previous original art exhibition (2020)
The same scene as that reproduced for sale at the original art exhibition (2025)
▲All scenes selected for reproduction, except this piece, have already been shared.
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The piece selected for the highlight position of the Secret Area (AreaⅤ)
The piece, positioned at the center of the Secret Area (directly in front as you enter) and the only piece illuminated with two more lights than the others, was also selected for reproduction and sale.
Since photography was not allowed in the secret area, I used the same image here instead.
I think the reason the album scenes were placed at the front of the Secret Area is that Yuki is the protagonist of the story, the title of the series is memories, and the key item in the sequel is the album.
▼In volume 2 of memories, Hino refers to what she wants to write in this sequel VKM.
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The piece placed in the highlight position that can be seen from all of Areas Ⅱ–Ⅳ
Since photographing color works was not allowed, I used the same image I found online instead.
By the way, the promotional taglines and the sentences attached to the opening illustrations of the serialized magazine chapters (the aori captions) are created by the editors. They are not words written by Hino herself.
In volume 13 of Vampire Knight, Hino lists three that she felt were appropriate for the story, which is interesting. One of them is the sentence attached to this illustration.
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The closing work for the entire exhibition
Since photographing color works was not allowed, I used the photo of the same work from the clear folder I purchased instead.
The closing work reminded me of Hino’s strong commitment.
On page 195 of the official fanbook, in the section about the inspiration behind the work, Hino’s statement—“I absolutely insisted on it being a double-hero story”(during her discussions with her editor)—is highlighted in bold. In Japanese, “死守” (shishu) literally means “to defend something even at the cost of one’s life.” It expresses an unwavering determination to never give in.
▼In the Japanese edition, this is on page 195, though the English edition may have different page numbers. It’s from item 12 of the interview with Matsuri Hino.
Additional information (about misinformation)
No scenes were specially revealed for this original art exhibition.
The Japanese wording on the event organizer’s website appears to have given the impression that special scenes would be shown, which led to some misunderstanding.
There are many English posts on Tumblr that contain official-looking mistranslations or misinformation, so please be careful.
Example ▼ The interview with Matsuri Hino at the Taiwan signing event in 2019.
Original Text
Q：自己會想知道千年後的世界是什麼樣子嗎？
A：並不會特別想呢，所以樞醒來後的世界，我都適可而止的描述。
Mistranslation
Q: Do you want to know what the world will be like a thousand years from now?
A: I don’t think much about it, so I only describe the world after Shu wakes up.
Correct Translation
Q: Do you ever wonder what the world will be like a thousand years from now?
A: Not really. That’s why I kept my descriptions of the world Kaname woke up to moderate and restrained.
Original Text
Q：優姬的兩個孩子自己最喜歡哪個呢？
A：畫愛的時候喜歡愛、畫戀的當下則喜歡戀，不是我要蒙混過去喔，這是真的。
Mistranslation
Q: Which of Yuki’s two children do you like best?
A: I like Ai especially when I am painting it, I am not trying to fool around, this is true.
Correct Translation
Q: Which of Yuki’s two children do you personally like the most?
A: When I’m drawing Ai, I like Ai; when I’m drawing Ren, I like Ren. I’m not trying to dodge the question—this is honestly how I feel.
The second original response from Hino conveys an honest attitude as a creator who genuinely commits herself to whichever subject she is working on and pours her heart into it. I chose these mistranslations as examples because I feel they misrepresent Hino’s artistic integrity. You can find the original text by searching online.
There are probably only a few people still active under this tag, but I hope I can at least share some information about the final original art exhibition with overseas fans.
Extra
Cultural-context interpretation of the voice drama and excerpts from the original text
※Some spoilers from the special booklet are included below.
This is reference information meant to explain some cultural elements, along with my personal reflections based on them. While interpretations vary, I hope that gaining insight into a uniquely Japanese perspective may help deepen your enjoyment of the work. Feel free to skip this if you’re not interested.
▼Ancestor Kaname
In Japan, particularly under the influence of Shinto and folk beliefs, ancestors hold profound ideological and spiritual significance. Ancestors are fundamentally regarded as protective beings, yet at the same time they can also be seen as objects of fear and awe. Ancestors are believed to manifest as spirits or appear in dreams. The spirits of ancestors are often called sorei (祖霊) (ancestral spirits), and dreams in which they appear are sometimes understood as spiritually meaningful. Ancestors can be understood as liminal beings, existing between individuality and abstraction.
In the voice drama, at the end of the story titled “The Absolutely Non-Neutral Monster,” Yuki calls Kaname, who appeared in her dream, a frightening being. If you listen to the nuance and the sound design in the voice drama, this expression can also be understood as a slightly playful and humorous way of expressing this traditional Japanese view of ancestors. Kaname tells the two of them, “Please live long and happy lives together......All for my Yuki—”, which ultimately portrays him as a protective guardian spirit toward the couple. Also, the expression yumemakura ni tatsu is used here (as explained below). Kaname can also be read as an ancestral spirit, sorei. From what I’ve seen, similar expressions can be found across various forms of media, including dramas, films, and both classical and contemporary literature. Ancestors are often treated in Japanese folklore, literature, and cultural works.
Additionally, in the story of the three in the afterlife—which Hino writes that is in a sense it could/can be called the epilogue—the scene of the afterlife references the Shinto term tokoyo (常世). In Japanese cultural practices influenced by Shinto and some traditional ie-based frameworks, after death, our souls are believed to return to our ancestors and be reunited with our spouses. In the earlier draft, the wording was oversimplified and lacked nuance, but this reflects a concept that was reinforced by Japan’s traditional “ie 家” (household) system. The deceased are believed to return to the ancestral household. Since husband and wife become part of the same family lineage and are venerated together, they are understood to dwell there as ancestral spirits. The situation in which Yuki returns to her ancestor Kaname and reunites with her husband Zero can be seen as reflecting a Japanese perspective on life and death.
These are simply my perspectives, among many possible interpretations.
The original Japanese text mentioned above
p. 22, ll. 15–16 (lower section)
どうか二人末永く良い日々を送ってくれ......全ては僕の優姫のためにー
Please live long and happy lives together......All for my Yuki—
Note: The voice actor’s delivery in the voice drama emphasized the latter part of the sentence (with a push in the performance similar to what voice actors call 押し or 突き), which reflects that nuance.
⸻
p. 23, l. 14 (upper section)
この日以降、夢枕に立つ恐ろしいものは現れなかった。
From that day on, no frightening being appeared in my dreams.
Note: Since the line is spoken by Yuki in the voice drama, I have rendered it as “my dreams” for clarity in English here. (I wrote above about the nuances in Yuki’s voice actor’s performance and the sound design in the voice drama.) In the special booklet, this line appears as narration.
Note:「夢枕に立つ」→‘Yumemakura ni tatsu’ refers to the appearance of deceased people, deities, or spiritual beings in a person’s dream while they are asleep. As alternative expressions for that, “to receive a revelation” and “to obtain an oracle” can be given. In traditional Japanese folklore, 枕 was not merely a piece of bedding for rest, but was considered a gateway for the soul. As the place that supports the head, the pillow symbolically connects the world of dreams—often associated with the realm of the dead or the spirit world—with the living world.
⸻
p. 32, ll. 27–28
ある意味ではエピローグと言えるかもしれません。
In a sense, it could/can be called the epilogue.
※As this sentence refers to Hino’s own words about the final story, I am providing the thought process behind the translation.
In both Kenkyusha’s New Japanese–English Dictionary (5th ed.) and the Wisdom Japanese–English Dictionary (3rd ed.), under sense ③ of “言う,” call is listed as the verb used when “言う” means to refer to something by a certain name or title. This usage typically involves nouns denoting terms, labels, roles, characteristics, designations, or similar classificatory nouns. In this case, the verb is not followed by a that-clause but by the single noun epilogue. Since epilogue is a noun that denotes the name of a structural category in narrative structures, I judged that call would be the appropriate choice here.
Note: The expression「〜えるかもしれない」is frequently used as a rhetorical softening device, particularly in authorial commentary. In such cases, the speaker does not necessarily moderate the substantive claim itself, but rather the tone in which it is expressed. To preserve that subtle sense, I think that using a modal verb is more appropriate in this case. Here, “can be called” reflects interpretive validity rather than mere possibility. “could” conveys modesty and restraint in an authorial voice. Since the precise degree of intentional ambiguity can only be known to Hino herself, both renderings are presented here to allow readers to evaluate the nuance for themselves.
Note: Since Japanese does not use articles, the phrase could correspond to either “an epilogue” or “the epilogue” in English; therefore, the choice of article remains open to interpretation.
The reasoning behind my choice of “the epilogue” above
I will address the referent of the statement. The title of the final story in the special booklet is “memoriesの後始末” in the original Japanese. Here, as with the sequel’s title, only the word “memories” in the title is shown in English rather than in Japanese and the kanji 後 (after) is placed after the sequel’s title. Structurally, the title indicates something that is positioned after the sequel.
In context, that statement can be identified as referring to what comes after the sequel, memories. If it were translated as “an epilogue,” it might not sufficiently reflect consistency with the title of the corresponding story. In this case, by choosing “the,” I attempted to maintain equivalence.
However, this is my translational choice. An indefinite reading (“an epilogue”) would also be justifiable, particularly if the term is taken in a more general or analogical sense. Ultimately, I believe it is reasonable for different readers to reach different conclusions regarding the final choice of article.
⸻
p. 24, ll. 1–2 (upper section)
最終回後の楽屋裏のような、常世の世界で自然と集まったような、そんなあり得ない状況の三人。
① 「ような」as descriptive imagery
Considering the syntactic and stylistic functions of the Japanese comma (、)
Case 1: Paratactic Stacking (retaining the original structure)
“The three of them are in an extraordinary situation, like backstage after the finale, like they have naturally gathered in the world of Tokoyo.”
Case 2: Explicative Appositive Structure
“The three of them are in an extraordinary situation—that is, like a backstage scene after the finale, where they have naturally gathered in the world of Tokoyo.”
Case 3: Elaborative Concretization
“The three of them are in an extraordinary situation—like backstage after the finale, one in which they have naturally gathered in the world of Tokoyo.”
② 「ような」as example or illustrative comparison
“ The three of them are in an extraordinary situation, such as a backstage scene after the finale, and a scene in which they have naturally gathered in the world of Tokoyo. ”
In Japanese, both interpretations (① and ②) are possible. I have presented both here to leave the choice up to the reader. Some parts may sound slightly awkward in English, but I have retained the original structures as the base model for those translations.
Note: Tokoyo refers to an idealized realm in Shinto mythology—associated with the land of the dead, an eternal otherworld, and a world beyond the mortal realm linked to gods and ancestral spirits—and it appears mainly in mythological, classical literary, or religious contexts.(https://d-museum.kokugakuin.ac.jp/eos/detail/?id=8740)
⸻
On the dictionary meanings of ren (恋) and ai (愛) in Japanese
Their daughters’ names are first hinted at on page 52 of Volume 1 of VKM, where they are also emphasized in bold.
Ai : よりちゃんとはこいとあいどっちがさき？
Ai : When it comes to Yori, which came first for you, koi or ai?
Kotobank is a famous Japanese reference website that aggregates entries from multiple dictionaries. These include デジタル大辞泉, a modern general Japanese dictionary, and 精選版 日本国語大辞典, a famous dictionary. These are well-established Japanese dictionaries published by major publishers and are generally considered reliable reference sources. The name of the source dictionary is shown above each entry on a black label. On the linked page, the entries are presented in the following order: デジタル大辞泉 first, followed by 精選版 日本国語大辞典, with other dictionaries appearing afterward. On the page for ai, encyclopedia entries follow the Japanese dictionary entries; there, concepts of love in both Western and Eastern traditions are discussed. The entries on Buddhism and Classical Chinese philosophy are useful for reference, as they provide important conceptual contexts for understanding the word ai.
If you’re interested, feel free to take a look. These dictionaries are updated and revised quickly and incorporate new words, so they are a good free resource.
(As you may know, each dictionary follows its own editorial policy, and the definitions are written from perspectives that reflect those policies. Incidentally, views on these two words vary depending on the field of study in academic research.)
Roughly speaking, koi is longing/desire, while ai is giving/caring. Also, in Buddhism, ai is understood as attachment, which in turn gives rise to suffering (e.g.,渇愛, taṇhā), while it can also carry the meaning of compassionate love, such as 慈愛/慈悲. (Since expressions derived from Buddhist terminology were often used in the work’s promotion, I’ll note them here.) I think the following article captures how native Japanese speakers perceive the distinction between koi (恋) and ai (愛).
This is a section I plan to update occasionally, whenever the mood strikes. For example, when we look up two words and find that they have
In the Japanese, both koi (恋, ren) and ai (愛) are used in relation to both Kaname and Zero to depict Yuki’s feelings. Cases where the pattern is the reverse of the daughters’ names: koi (恋) is used for Kaname (VK8p.73), and ai (愛) is used for Zero (VKM1p.139).←Yuki’s direct lines
Additionally, the expressions of love from Yuki such as “愛する, aisuru” and “大好き, daisuki ” are used in a way that can apply to both. Including not only direct expressions by the person, but also representational ones→(Yuki→Zero a) VK11p.109, VKM1p.44, p.139 d) VKM1p.137, VKM10p.167; Yuki→Kaname a) VK19p.191＝VKM1p.145, VKM1p.44, SBLp.14 d) VK6p.58, VK7p.99-100, VKM2p.104) Daisuki is an expression used in daily life to convey love in a direct and straightforward way, whereas aisuru tends to be used in more literary contexts, such as poetry or novels, or in speeches, and carries a somewhat more formal tone. Of course, this does not mean it cannot be used in everyday situations. They differ in the situations and the tone in which they are used. As a Japanese speaker, I don’t see one as superior to the other. Both are forms of love, and both expressions can represent the fullest expression of love. In English translation, the emotional nuance is determined by the translator’s interpretation based on the context and may be expressed along a spectrum from “I really like you” to “you are my beloved.” Both expressions of love can be used for a variety of entities.
→https://kotobank.jp/word/大好-2058415#w-2034935
→https://bunpro.jp/vocabs/大好き?deck_id=2
→https://kotobank.jp/word/愛する-421431#w-1861189
→https://bunpro.jp/vocabs/愛する?deck_id=753
Other expressions of love from Yuki in Japanese:
As with the terms mentioned above, they are generally translated into English as “love.” Links to explanations of the words are provided here. If you’d like to see how they are used in practice, please check the original text or English version for each.
愛しい itoshii (adjective), 愛しさ itoshisa (noun)
Y→K (VK11p.96, 98, SBLp.09)
Y→Z (The description in the story section of AreaⅡ渇望) 引用原文「（中略）引き裂くような別離、狂おしいほどの愛しさが、その身に餓えを刻みつけていくー。」
身を委ねる mi o yudaneru nuance: entrust oneself to〜give oneself over
Y→K (Previous summary of Chapter 90-92 magazine)
→https://www.weblio.jp/content/身を委ねる
本懐を遂げる honkai o togeru achieve one’s true desire
Y→Z (SBLp.08)
→https://kotobank.jp/word/本懐-632007
→https://word-dictionary.jp/posts/4537/
飢え ue hunger
In the English version, it is translated as “thirst.” The original Japanese word for “THIRST” in “VAMPIRES CAN ONLY QUENCH THEIR THIRST WITH THE BLOOD OF THE ONE THEY LOVE…”
餓え ue hunger / starvation
Y→Z (The description in the story section of AreaⅡ), K→Y (The description in the story section of AreaⅤ=Summary of the final volume of Memories)
→https://kotobank.jp/word/飢え-438485
Various expressions associated with thought:
業火に焼かれる gōka ni yakareru to be punished by hellfire (eternal fire of hell) / to be consumed by karmic flames
K (The description in the story section of AreaⅤ=Summary of the final volume of Memories)
→https://www.kanjipedia.jp/kanji/0002980500
forgive sins
人柱 hitobashira human sacrifice
Y (VKM10p.134)
→https://kotobank.jp/word/人柱-120369
This is essentially a term that represents the concept of human sacrifice rooted in ancient religious and natural beliefs.
還る kaeru return
Y→K (VKM2p.188)
→the second item https://www.kanjipedia.jp/sakuin/doukunigi/items/0000874100
It is often used as a euphemism for death, and conveys the idea of life returning to its origin as a view of life and death.
There are very few explanations available in English, especially when it comes to detailed explanations of nuances. So almost all of the sources are in Japanese. However, I hope that if anyone happens to take an interest, at least some of the nuance and the overall feel of the words will come across.
Kaname cried again because of Yuki’s return. I did thought he was crying before, but the digital version wasn’t clear. When I saw it for the first time, I cried. 😭
He deserves better, my dear.
Just thinking that Yuki and Kaname cried for each other in the same chapter, and having ONE HEART so they could live and return to life… and that their first and last words were each other’s names. 😭
They even died at the same moment and turned to dust together.
This love is so strong. Their fate is very powerful. It doesn’t matter if they were separated, they returned to each other in life and in the afterlife.
That's a true Love story, That's what called Two people are in love truly, That's what is called a Fate.
We at Eternal Rose Scans are proud to present our final project, ‘Vampire Knight Memories: Volume 11 Special Edition Booklet’. The booklet contains extended versions of the ‘Feelings of the Two’ project, two comedy dramas, and a final message from Matsuri Hino. Thank you all for your continued support over the years and, for the very last time, happy reading!
We at Eternal Rose Scans are proud to present our final project, ‘Vampire Knight Memories: Volume 11 Special Edition Booklet’. The booklet contains extended versions of the ‘Feelings of the Two’ project, two comedy dramas, and a final message from Matsuri Hino. Thank you all for your continued support over the years and, for the very last time, happy reading!
We at Eternal Rose Scans are proud to present our final project, ‘Vampire Knight Memories: Volume 11 Special Edition Booklet’. The booklet contains extended versions of the ‘Feelings of the Two’ project, two comedy dramas, and a final message from Matsuri Hino. Thank you all for your continued support over the years and, for the very last time, happy reading!
The headmaster believed in Kaname and hoped Kaname would choose Yuuki. He never wanted Kaname to give up his life to turn Yuuki human or choose a dark path. He wanted Kaname to choose the light (Yuuki). I remember seeing that Hino said the headmaster is like her so I think of Hino talking through the headmaster
"I want to meet you... will you please forgive me..."
I need to talk about this! When I read it, I couldn't stop thinking about it. Like I can't help to think it's a follow up.
So the official twitter account made a post about VKM's conclusion. It has some dialogue of Kaname's POV. Here it is below:
"I want to meet you....
This thirst that tears me apart is betraying the "happiness as a human" that she desired.
Even after losing my memories, the hunger that still aches, and the hand I extend toward you....
Will you please forgive me...."
Now here's Kaname's POV from the final translation that @eternal-rose-scans team has done :
"The day has come.
I close my eyes and listen to the voice from the darkest depths of myself.
That voice has cried out the same wish since the very beginning.
I carry great anger at myself for covering my ears.
This is, without a doubt, my own wish, cry, and anger.
Yes.
That's right.
What's wrong with wanting you?
I will listen to my own voice."
So yeah....
I definitely think that twitter post is a continuation to this Kaname's POV.
It's sad. After Kaname decided to follow his heart, he realize what he was about to do. He feels guilty for betraying Yuki's wish of wanting him to have "happiness as a human", but he can't help himself.... from his longing to meet her again....
"Will you please forgive me."
UGH.... that line right there! I can't, my heart!!
Vampire Knight Memories Special Edition Volume 11 🌹
The Special Edition includes 3 brand-new voice dramas, all completely written by Matsuri Hino herself. The scenarios are original and created specifically for this release. The booklet will also include new illustrations that match each scenario. Kaname, yuki, zero.
Voice Drama 1:
“Their Individual Feelings” (それぞれの想い)
This story contains 8 chapters, each told from a different character’s point of view.
It explores “what each of them felt at that time,” giving deeper emotional insight into moments we didn’t fully see in the manga. Voice Drama 2:
“Absolutely Not Neutral Monster” (絶対非中立モンスター)
A mysterious and symbolic story.
The description hints that the person who appeared in Yuuki and Zero’s dream is… THAT person. (Kaname)
This scenario focuses on dream symbolism and the powerful presence of someone who influences their hearts.
Voice Drama 3:
“memories — After the Ending” after the last Chapter. (memoriesの後始末)
A lighter, post-ending scene where three characters are sorting through photos together… kaname, Yuki, zero..
and suddenly a strange, funny “battle” breaks out between them.
A playful extra set after the main story’s conclusion.
There is no CD included.
The Special Edition booklet contains a serial code that you enter on a dedicated page to listen to the voice dramas digitally.
One of the voice dramas also includes Animate-exclusive features, available only through the Animate app.
Voice Cast
The announcement features the main voice actors who will perform in the new audio stories, confirming high-quality production.
This Special Edition gives new scenes, new emotions, and extra closure to the characters we love.
A perfect final celebration for Vampire Knight: Memories.
We’ve uploaded our raws to Imgur. Many thanks to @vk-crzy for the scans; if you choose to use our scans for edits, we kindly ask that you give us credit.
Please do not use these scans for scanlation purposes or re-upload them.
dailybridgerton
yousharknotpass
stormborns
ellievsbear
origamiaround
turnnoffyourmind
