Ropes of Fate Scanlations

JSHK Releases: 🔖Chapters 63+ 🔖Volume Extras 🔖Pilot Chapters 🔖Spinoff (Chapter 5 onwards + Drama CD) 🔖AidaIro Artbook (Bonus Manga) 🔖JSHK AUs (Ghost Hotel's Cafe, Hanako of the Opera) 🔖Chapter 6.5 Other AidaIro Releases: 🔖Dear My Living Dead 🔖Fox-Masked Guardian Spirit 🔖Toramatsu-san 🔖Money, Maidens, Love, and Innocence Don't forget to check us out on Twitter, Instagram, and Discord!

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hello! do you know if g fantasy has mentioned anything about the spinoff series? i know its been on hiatus but havent found mention of it otherwise and wonder if its been cancelled. tyia! :)

The spin-off used to update on the 4th Thursday every month at 12pm JST on pixiv comics when not in hiatus, but there may have been changes to the schedule as Day 26, 27, and 28 were all a month or more apart. (though Day 26 and Day 28 were also published the same time as the main series in G-Fantasy) There's no date indicated on when it will continue after Day 28 so we're unsure of its status, but as far as we're aware it hasn't been cancelled.

However as Aidairo are on hiatus at the moment there won't be updates on either the spin-off or main series for the foreseeable future until they return.

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Hello!! May i ask on what happened to your discord server?

Hi! It's been a while since anyone's checked the inbox and only got to these now, so sorry about that, but the Discord is still around! The invite just broke after a while due to it being a vanity url and we neglected to update the link;; but it should be fixed now! Just poke us again in case it expires :)

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Toilet-Bound Hanako-kun Quarterly S Feature

There are multiple parts to the article so instead of having it all on a single post we figured splitting them up by section would be better for readability, this is also to make navigation between those parts easier and still have all the feature-related posts in one place.

We'd like to note that some things like promotional blurb and sections of scenes and images simply being described by the magazine with no additional commentary have been omitted, but if these are things you guys would be interested to have in for completion's sake they can be edited in at a later date!

- Character Introduction and Commentary - Main Interview with Aidairo - Art Points from Aida - Miscellaneous Lore and Questions

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Misc Lore and Questions (from the feature in quarterly "S")

There were a few bits and pieces in the feature article that didn't quite have their own section or were one-offs about a single topic so they're all pooled under this post!

What’s your must-have while working on manga? Iro: Japanese tea. I have a teapot that keeps around 700ml in it that I have on hand while I work, but even then I manage to empty it around 3-4 times a day. I also still use the handmade coasters that some readers gave me a while back. When I’m thinking of the story I put on ambient music that would fit what I’m trying to work on. In volume 5 for example, the scene where Nene meets the Yugi Amane of the past, I thought of that one while I had the evening notice* playing on loop for 10 hours. Aida: I go on a two hour walk at least once a day. Some days I go to the gym, others I head to the library, sometimes I play with my hamster… That and a lot of drawing practice. I go on walks with Iro-san sometimes too.

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The “Boundary” that Connects this World and the Next Their boundary, with its massive size and grand appearance, is a place where the Seven Mysteries are able to use their powers to the fullest. No.2 who has a path to a shrine, No.6 with the winding arched bridges, and the Clock Keepers whose boundary is made up of clock parts and giant balance springs; all boundaries are unique and leave a striking impression.

Aida: The boundaries for the Seven Mysteries are made up of two key parts; the first is something that has to do with their name as a Mystery, the second is something that doesn’t have much to do with the being themself. For example, with No.2 it’s stairs and dolls, with No.5 it’s bookshelves and butterflies, and so on. No.6’s boundary is a space where there's giant lilies and buildings that look like stacked stones in the Children’s Limbo*, however this is the look of the afterlife he’d only heard of from someone in the past. I think he created it with this image of paradise in mind. The unrelated things here are the lotus root spirits. (The one-eyed creatures that speak in the ma-column of the alphabet.) A boundary I’d like to go to is Yako’s.

Iro: The boundary I’d like to visit most is also No.2’s, it’s very photogenic, insta-worthy even.

The Mokke who Lurk through Daily Life

Iro: It’s always fun writing the mokke, I’d actually like for them to have more appearances in the main story… But unfortunately, no matter how serious the plot gets, the mokke will still live their lives as they always do.

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Notes:

- Evening notices are general PSAs played throughout the streets around the late afternoon to early evening as a signal for children to head home before dark. You can see this shown in the exact scene Iro was talking about in chapter 22. - The Children's Limbo is a part of the Japanese depiction of hell where the souls of children who predecease their parents are made to stack stones by the riverside to supposedly build a tower to climb their way into paradise.

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Key Art Points from Aida (from "S")

These are a few notable points regarding the art in Toilet-Bound Hanako-kun listed by the illustrator, Aida. Some other notes not included in but related to this section that are found throughout the article have also been added in.

Drawing Tools

(The same things are used in both color and illustration pages as well as black and white pages.) PC (tablet): Pen display (Wacom Cintiq) Drawing tools: Easy Paint Tool SAI 2 (main brushes: pencil, flat brush)

Aida: I have trouble with pen pressure, but found that SAI's pressure sensitivity works best with me so it’s easy to draw with. Though I use Clip Studio Paint to work with screentones and such on the black and white pages. On occasion I’ll draw up rough drafts on Muji’s ‘Weekly 4-koma Notebook’ too. I started out drawing them on PC, but sometimes I’ll think “I wanna draw while eating something tasty outside!” so I go and draw them traditionally instead.

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The weight of the lines Lines that have crisp, dynamic line weights are appealing and give the art more dimension. Compared to early in the series the linework has gotten sharper and you feel its presence much more. The use of the linework to show distortions and other effects is also interesting.

Aida: For important scenes, I play around with the balance of how I do the inking in contrast to the panels around it. Rather than a realistic light source I place the lights in the scene to use them as effects.

The balance between black and white For Hanako-kun who has black hair and a black gakuran, rather than be inked in full black, contrasting lines are added to make him more three-dimensional and give a shine to his look. The sense of urgency and tension in some scenes is conveyed using this same technique as well. Aida: Once I’ve gotten the inkwork done, I break up the lights and shadows to match the surroundings. The triangle motifs When a yorishiro is destroyed the boundary breaks up into triangular bits as it collapses, the backgrounds, props, and even the texture on Mitsuba’s scarf are drawn with triangular shapes too. There are also triangles incorporated into the cover designs, so keep an eye out for them.

Aida: I wanted the series to have an effect that was unique to itself so I used the triangle shapes, it was partly inspired by the scale designs on the kimono they used in kabuki too. I also just like glass-like objects.

The beautifully adorned look-back pages The decorated panels are also a highlight, especially during the ‘look-backs’ where the characters greet us and give the readers an easy to understand run-down of the current story. The dialog that comes with their introduction is part of the fun too.

Aida: Since ‘Hanako-kun’ is published in a magazine, when someone that hasn’t read it flips through the book I thought it’d be more eye-catching if there were something cute and retro-styled when they saw it so I drew them that way. I figured it might be easy to get them interested if they thought, “Those panel borders look a little weird, I wonder what that is?” or something.

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The Look of their Eyes

The cast’s eyes vary in shape and level of detail that they’re all distinct enough for one to be able to tell which character it is from just that detail. Here we show a variety of eyes seen in the series, from emotional highs and lows to those that give the reader a sense that they're looking at something inhuman.

Aida: Nene is someone who takes a proper look at whoever she’s with, so they tend to reflect in her eyes. As for Hanako-kun and Tsukasa, I made it so that you’d be able to tell which is which as part of their designs. I also frequently use eyes having no highlights if I feel it’d be effective to use in a scene.

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Cover Illustrations

Aida: The volume covers start by deciding the characters. I also make many layout patterns so there’s a lot to consider. I’m pretty flexible about what the main color ends up being because even if I decide on something early on it can end up changing once I start coloring the characters and something about it looks off.

Contents Pages The table of contents pages in the volumes are also beautiful. The Picture Perfect arc featured a broken canvas that had a link to the story yet also gave you this unsettling feeling, and volume 21 where they were holding the school festival had a flyer stuck to a bulletin board. The same design was shown within the story itself as well.

Aida: They’re often made and decided on on a whim. I create a lot of drafts based on notable scenes and choose among them.

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Aidairo Interview (from "S")

Interviewer: The theme of this issue of quarterly S’s special feature is 'the supernatural'. Iro-san, you’ve mentioned in a previous interview that you enjoyed both Japanese and western horror, folklore, and nursery rhymes. What made you take a liking to them? As for Aida-san, you saw something that had “Hanako-san of the Toilet” as its focus. We’d love to know what other works or images left an impression on you both.

Iro (writer): Fear is something universal and familiar to us. Even in daily life dark places somehow scare us, it makes you feel as if something might be there. If you take that sense of fear and put it together with stories of ‘monsters lurking in the dark’, it strengthens your imagination. It makes you think, “The things written here might be true.” I like how it gives a realistic feel to things in fiction. Also, part of me considers horror entertaining, like riding a roller coaster.

Aida (artist): There was an anime segment called ‘The Scary School Rumor Hanako-san’s Appeared!’ in a TV show I watched called “Ponkickies”*. The Hanako-san in the show was someone that helped the characters so I probably thought “Hanako-san’s a good guy!”. The episodes ‘Sacchan’s Rumor’ and ‘The Monster Tonkaraton’ were particularly scary.

Iro: Mine was the song called ‘The Girl Who Trod on the Loaf’ on NHK’s “Kids’ Doll Theater”*. They were just silhouettes but she really sank in that puddle didn’t she…

Interviewer: There are lessons to be learned from ‘The Girl Who Trod on the Loaf’, but the storytelling and how things unfold are quite harsh so I understand that it might be traumatic to see it as a child. As for ‘Sacchan’s Rumor’ and ‘The Monster Tonkaraton’ they seem to lean more to being urban legends, did the two of you know of any strange rumors at your schools?

Aida: The horror boom happened during my student years, so when we could buy photos during school trips and days out everyone would frantically start looking for ghosts in theirs. But obviously, there wouldn’t be any ghost photos from a professional’s work.  Iro: At the school I went to there weren’t any ghost stories or anything like that at all. I tried and looked around but sadly my search came to nothing…

Interviewer: They frequently featured ghost photography on TV during that time, didn’t they? Now we’d also like to ask about settings and motifs you liked.

Aida: I prefer older things to brand new stuff. Like those illustrated commercial posters that came out in the 1910s with actors striking poses, I think those are cool. From the furniture to the clothes, there are plenty I find cute even today. I also like the retro future concept that people thought up about the near-future during the 60s. Iro: Whether it’s reading or writing it I enjoy fantasy settings. Like those in children's books...recently I've been reading the third book in Howl's Moving Castle, the "House of Many Ways".* I like horror and mystery too, but I think I prefer watching those.

Interviewer: I see, the time period you’re interested in is pretty close to the setting of “Toilet-Bound Hanako-kun”, Aida-san. On that note, there’s something about manga that we’d like to ask, what got the two of you start working on manga together?

Iro: Initially I was writing short stories on my own, I wrote scripts for plays as a student, and the experience of working together on something with a handful of people made me want to create more projects with others. I liked manga so when I met Aida-san in college and saw their work, I fell for their art at first sight and just asked them, “Would you draw for me?” Aida: When I read Iro-san’s work I thought “It seems like it’d be fun to work together.” and agreed right away. But then after that I worried over how it’d be to actually do that (lol). Ultimately, the manga “BAKUMAN.” had a large influence in how Iro-san and I work. That was the first time I truly understood how it was for a writer and artist to work on a comic together… It was the thing that pushed me to work when I was wondering how I should go about things while just starting out. Another reason is that I didn’t want to be the only reader to the worlds Iro-san wrote about, I wanted more people to read them and have that same experience too.

Interviewer: That’s a wonderful story. Have there been any changes to how you work on things from between early on and now?

Iro: We used to meet up a lot, but nowadays we tend to talk on the phone more. I live within a stone’s throw* from Aida-san so when there’s something going on nearby we head there together. When we see each other we just naturally start talking about work, so I guess that's a sign that we're pretty close.

Interviewer: Thank you for telling us. We also wanted to wind things back and ask about your debut work, “Dear My Living Dead” (seen in “Toilet-bound Hanako-kun Vol. 0”). Lilia’s irreversible fate and the choice Cult decided to make were truly crushing.

Iro: I just like stuff with zombies in it. Aida: Lilia’s character design was made to be soft and filled with happiness and Cult's design was, simply put, made to look totally exhausted. When I’d draw the important scenes, I wouldn’t rest until the weight of the lines and the adjustments on the angles on their faces were just right that I’d spent 5 hours just on one panel. This isn’t limited to Cult or Lilia but I keep the movements of their lower eyelids in mind when I draw.

Interviewer: Five hours…that’s amazing! Your focus on their lower eyelids is also quite interesting. You also had another work published in the magazine even before “Dear My Living Dead” called “The Delinquent, the Nerd, Love, and War” (seen in Volume 5 of "Toilet-Bound Hanako-kun") that was rather comedic while still fitting the purpose of the project. Akane-kun and Yamabuki-kun who are both in “Toilet-bound Hanako-kun” also make an appearance in it.

Iro: The both of them were actually made before Hanako-kun. They were pretty popular then so rather than set them aside I had them appear in “Toilet-bound Hanako-kun”.

Interviewer: So that’s why! Then after that the pilot run (seen in Toilet-Bound Hanako-kun Vol. 0) was released, and made way for “Toilet-Bound Hanako-kun” to begin publication. With a familiar theme like the “Seven School Mysteries”, that unique touch of Hanako-san of the Toilet being a boy as well as the retro-style setting really pull you in. We’d also like to know your process in making a story that explores both comedic and dark ideas. Iro: Initially, it was supposed to be a manga adaptation of a short story I’d written for an assignment. It was a story about Hanako-kun’s living counterpart, Yugi Amane, and the eventual No. 4 of the mysteries, Shijima Mei. There were no ghost story or romcom elements in the story at all, it was just about Amane and Mei living their lives as high schoolers and showing their interactions with each other. When the seven school mysteries idea got added into that, “Toilet-Bound Hanako-kun” was born. The ghost story and retro style came later, the darker central theme of the story was made first. Aida: There’s times we’d brainstorm ideas over a meal, but you’d hardly make solid decisions on the spot right? It's either Iro-san would get an idea, or sometimes I think up something based on a character I’d designed; Tsuchigomori and No. 6 of the Seven Mysteries had their designs set in advance for example. As for the seasonal events we have on social media, Iro-san creates the story based on the character’s costumes and the setting they’re in from illustrations I drew prior.

Interviewer: I see, so your approach is not being too rigid with your creation process. I was quite impressed with the way the ‘Picture Perfect Arc’—where Shijima Mei and Yugi Amane make their appearance—started not with the usual rumors of one of the Mysteries but with blending the normal with the abnormal, where they don’t even realize they’d already been captured by a supernatural.

Iro: It was a part of the story I started out of a desire to create something that could be read standalone, something you'd want to see as a movie. With a movie adaptation you'd think of a story with a grand scale and a dramatic ending, so I kept that in mind while writing. Shijima-san already made an appearance during the pilot chapters and during then she had feelings for Honorable No.7 (Hanako-kun), but this was something that got lost in the serial publication version. When you make stories about school ghosts, spirits in the art room are pretty common so I wanted to include them.

Interviewer: I was drawn in by how dramatic it turned out to be. The scope of No.6’s (Hakubo’s) arc was also quite significant, wasn’t it? The bone mask he wears also has a lasting visual impact.

Aida: We decided on having someone covered with bones from the early stages… Then from there thought up that No.6 would be a god of death and later on had him be an oni. He might have the fresh look of a baseball player, but his personality is a far cry from that of a sportsman. We were able to delve more into Aoi during this arc too so that was really fun. Iro: The Picture Perfect arc had a refreshing story to it, so in contrast I wanted to write the No.6 arc as something more murky and unpleasant when I started it. With things like the selfish traditions that they used to have and misunderstandings between the characters. The emotional developments for some of the characters was nice, but I had a hard time writing the scenes for it.

Interviewer: Seeing a side of Aoi-chan that she’s never shown to Aoi-kun, as well as seeing her grow worse was painful. You can really feel that the changes in the characters is one of the series’ highlights. I also felt that Kou and Mitsuba had a good relationship from how they were shown in the ‘Nightlife’ arc. Iro: It’s fun writing what happens between them, though the whole aquarium scene was quite difficult to plot out… Aida: We came up with that while we were at karaoke, while looking at the monitor there were clownfish and coral reefs on the screen so it went like, “Should we go with the aquarium?” “That sounds nice.” and that was that. Iro: After that I went to an actual aquarium with Aida-san too, we had a great time.

Interviewer: So that’s how things were decided! We also had a question about the spin-off “After School Hanako-kun”, the amusing chapters and unexpected plot lines are super enjoyable! So we’d like to know which chapters were written thanks to it being in "After School Hanako-kun" and which scenes you enjoyed creating most.

Iro: We try to keep the character appearances balanced so that everyone is able to show up, but there are some that do appear more than the rest at times. I was able to write the chapter where Nene turned into a mokke since it was for ‘After School’, that chapter (Day 9: Truth of Mokke) is my favorite.

Interviewer: “Toilet-Bound Hanako-kun”, a series that's been filled with activity from the anime to the in-person events, is soon celebrating its tenth anniversary, congratulations! We’re all super excited for the commemorative event that’s starting soon. Aida: Thank you so much! As the theme is ‘celebration’, there’s quite a lot of festive merch so please look forward to them!

Interviewer: By January 2025 “Toilet-Bound Hanako-kun 2” is also starting soon! Please tell us what you’re looking forward to seeing on the show. Iro: There’s so much happening that it’s hard to choose… I’m also excited for the opening and ending themes. Interviewer: You’re keeping an eye out for the things that’ll try to condense everything about the series in a short clip then, I see. Now lastly, and not limited to "Toilet-Bound Hanako-kun", we’d like to know what things the two of you have been thinking about, things you've gotten hooked on, or even things you’d like to challenge yourself to do in the future. Iro: I love escape rooms so I’d like to have a collaboration with SCRAP* one day, I also enjoy haunted houses so a collab with one would be nice too. I also want a mokke alarm clock. And I’d like to make a horror game for Hanako-kun, I'm a game lover so the want to make my own game will always be there. I feel like my list could just keep going. Aida: I love rail transport so I’d like to ride the Jungfrau railway in Switzerland, there are a lot of local railway lines that I want to try too. Interviewer: Thank you for taking the time to answer all our questions!

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Notes: - Ponkickies (originally called Super Kids Show Ponkickies) was a children’s TV program that was a rebrand of the earlier “Hirake! Ponkikki” (1973-1993) that ran in three seasons on Fuji TV from October 1993 to March 2018. The segment Aida talks about is a short form anime that aired during the first season of the show in the late 90s. - Kids’ Doll Theater was a children’s program shown in a puppet show format that ran on NHK’s educational content focused channel NHK Education (currently known as E-TV) from 1990 to 2011. - The Girl Who Trod on the Loaf is a story by Hans Christian Andersen about a beautiful, yet prideful and arrogant girl who, in her vanity, used a loaf of bread that was meant as a gift to her mother as a step to avoid soiling her shoes. - This particular volume's title is localized to 'Charmain and the Witch's House' in japanese. - The actual term used was "a distance where miso soup won't get cold", some sites have roughly estimated this to be about 30 minutes.

- SCRAP Games runs Real Escape Game in Tokyo, a popular escape room game that's had many collabs with other popular manga titles like Jujutsu Kaisen and Demon Slayer.

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Toilet-Bound Hanako-kun Cast Commentary by Aidairo (from "S")

— We’ve received comments from Aidairo about their characters!

Hanako-kun, Leader of the School Mysteries, No. 7 “Hanako-san of the Toilet” A supernatural who resides in Kamome Academy’s old school building, “Hanako-san of the Toilet”. A boy wearing a gakuran and matching school cap. He might seem lively and innocent, but he’s experienced a gloomy past. His favorite food is homemade donuts.

Iro: Hanako-kun finds Nene cute so he tends to get in her space, he’s younger than she is so she lets him be. Aida: We just naturally decided on the bathroom being in a western style. Hanako-kun would be living in it so I wanted it to be a place that wouldn’t be difficult to live in. I also thought that it might look nicer if there was stained glass in it.

Yugi Amane Hanako-kun’s name while he was alive. He loves the stars. His personality is more subdued compared to Hanako-kun. During the time he knew Tsuchigomori-sensei he was shown with constant injuries. From youth, adolescence, and even as a working adult, the way he looks comes to vary in the story.

Aida: Keeping his age in mind, I wanted to show how he lived at the time. Are things a mess? Is he tired? Did he learn to fix the wrinkles in his clothes when he got older? Stuff like that…

Minamoto Kou A third year in the middle school division, compassionate and always gives his all. His omamori earring is his trademark. Through his interactions with Hanako-kun and Mitsuba, he sees supernaturals differently in contrast to his brother. He’s also very good at cooking.

Aida: I designed his staff and omamori piercing in a way that made it easy to notice the Japanese and horror genres of the work. Also his hairstyle and his looks give "Lively!", though he might be making more gentle expressions lately.

Minamoto Teru A second year in the high school division and the student council president, a powerful exorcist. He might seem attractive and radiant, but towards supernaturals he’s merciless and his gaze grows sharp. He dotes on his younger sister, Tiara, he’s also terrible at cooking.

Aida: Teru usually has his arms and legs straight, he carries himself well. So I take care to show him acting in a refined manner. When he’s thinking he’s got a habit of touching his chin. Kou tends to touch his ears or cheeks, by the way. Iro: In his first proper appearance in chapter 9 (seen in volume 2 of the comic) it looked like he was going to exorcise Hanako-kun, and our ratings on the magazine survey really dropped. (lol) That’s when I learned that just because the guy’s hot that it doesn’t mean he can get away with everything.

Yashiro Nene A first year in the high school division. In hopes of having her feelings towards her beloved Minamoto-senpai be returned, she tests out the rumor of the wish granting 'Hanako-san of the Toilet'. Due to unintentionally receiving the Mermaid’s curse, she turns into a fish when she comes in contact with water. She’s conscious about her radish legs. She ended up finding out that she was close to death…

Aida: You don’t always see a character’s full body in comics, so I wanted her features to be noticeable even when you only see her face or from the bust up. So that's why she has things like her skull brooch and her magatama-shaped hair clips. As for her legs…if I remember correctly, the editor-in-chief made a request for the heroine to have some stand out characteristics so this is what we went with. She has a pretty face.

Mitsuba Sousuke (Mitsuba), No. 3 of the School Mysteries “The Hell of Mirrors” He has a cute face but a flawed personality. He likes taking photos. He met Kou as a ghost and was able to be rid of his lingering regrets, but became a fearsome supernatural as a result of Tsukasa and his group's interference.

Iro: Since he appeared in volume 4, I wanted there to be a character with certain attributes that hadn’t yet been shown so far and that’s how he came to be. Aida: From a coloring perspective, Hanako-kun and Nene are ‘chic’ so when he’s grouped with Kou I wanted the colors to be more ‘pop’-like. Iro: We had Mitsuba exit once, but there were still possible appearances for him involving Kou and I also thought we could further explore things with Kou's character through him, so he made a comeback.

Aoi Akane, No. 1 of the School Mysteries “The Three Clock Keepers” Nene’s classmate, a prodigy who also serves as the student council vice president. Aoi’s childhood friend, he always confesses to and is always rejected by her. She’s also the reason he became a clock keeper. He has the power to stop time. 

Aida: I wanted him to draw him looking slightly mature when he turns into his clock keeper form. When he’s with Aoi his eyes are happy and bright, but with anyone else he has no interest and he has a dull look on his face.

Akane Aoi Nene’s best friend and a popularity queen. She’s well-informed about the rumors going around the school. She rejects Aoi’s confessions because her name would become Aoi Aoi if they got married. Since letting out the feelings she’s been bottling up during the No.6 arc, she’s become able to see supernaturals and grew a more laid-back attitude.

Aida: I feel like when I’m drawing pretty boys (Teru) and girls (Aoi) I end up drawing with more detail. So her hair is super silky and her eyes are shiny. Compared to Nene-chan, the highlights on her eyes are smaller so there are more darker spots and it seems fitting for her so I find it cute ♥

Mokke Cute, long-eared, and round supernaturals. Their looks aside, their thoughts are quite vicious. When many of them gather together they grow into a larger being. They love candy and appear in various forms.

Yako, No. 2 of the School Mysteries “The Misaki Stairs” An Inari statue that harbors feelings for a human (Misaki). She presides over the “Misaki Stairs”.  Due to her yorishiro being destroyed she’s presently posing as a cat and is taken care of at the school. She has a cat and dog relationship with Tsuchigomori.

Aida: The bib she has in her fox form is also used as her apron in her human form so there’s some consistency. Yako being white and red are vital design points for her, so I was careful to keep the balance between those colors in mind with either form. 

Tsuchigomori, No. 5 of the School Mysteries “The 4 P.M. Bookstacks” A supernatural that’s lived at Kamome Academy for a long time. He was Amane’s homeroom teacher while he was alive, today he’s Kou’s homeroom teacher. The spider web-like pattern on his forehead and his long neck are his key features. He wears a lab coat and stays in the science prep room.

Aida: I didn’t have any trouble with Tsuchigomori’s design, I think I made up my mind about the look of his supernatural form first. Though he may look nonchalant, he’s actually a kind supernatural.

Hyuuga Natsuhiko A second year in the high school division, he lures people in with his light-hearted tone. He’s treated like air by Sakura. He’s a human that doesn’t die no matter how many times you try to kill him, and he possesses blood that is highly poisonous to supernaturals. He acts with the goal of destroying all the Seven Mysteries’ yorishiro.

Nanamine Sakura A third year in the high school division, Tsukasa’s assistant. She spreads rumors about supernaturals through the broadcasting room, a beautiful girl with downcast eyes. Like Nene, she’s also tied to a supernatural (Tsukasa) as the price for her wish. It seems there's something she's been wishing for for over 100 years. 

Aida: When the broadcast room trio are in a panel together I make it so they're all looking in different directions, with Sakura-san at the helm they have a cool air about them. In comparison to the main trio (Hanako-kun, Nene-chan, and Kou-kun) who usually group together in a circle and look at each other. Oh also, Natsuhiko has a habit of striking picturesque poses to try and look cool. Tsukasa just floats around. 

Yugi Tsukasa Hanako-kun's (Amane's) younger twin brother, Tsukasa, who he’s said to have killed. They may look alike but Tsukasa is much more cruel and sinister. ‘Something’ that has the appearance of a younger Tsukasa inhabits the cursed “Red House”, he seems to have been taken as the price for saving the sickly Amane. His seal is on the opposite cheek to Hanako-kun. 

Aida: There’s been plenty of ideas that had Tsukasa being included as a given even during our pilot run . Iro: I’m not saying I particularly like twins, but I just thought it was cute to have two characters with the same face. Or I'd think about wanting to see more faces I liked, how I’d like to see a lot of varied expressions from them, so I made them different people. And somehow there's more of them now. Aida: Then aren’t you just saying you like twins? (lol)

Shijima Mei, No.4 of the Seven Mysteries “Shijima-san of the Art Room” A supernatural born from grief and anger at the fictitious rumors made up about Shijima Mei after her death. She’s able to make an ideal world within her boundary. Her ability to bring anything she draws to life is impressive. 

Hakubo, No. 6 of the Seven Mysteries “Shinigami-sama” A supernatural with power over life and death. The look of the skull he covers himself with and his beast-like hands leave quite an impact.

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[After School Hanako-kun Day 28: Home Center]

Trip to Ikea, anybody? 🪴 Please enjoy our translation of chapter 28 of the spinoff, Home Center! It’s also available to read on Mangadex!

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[After School Hanako-kun Day 27: A Round of Ghost Stories]

It might not be summer, but there's always time for ghost stories

👻 Please enjoy our translation of chapter 27 of the spinoff, A Round of Ghost Stories! It’s also available to read on Mangadex!

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[ After-School Hanako-kun, Day 26: Cursed Cat Ears ]

Please enjoy our translation of chapter 26 of the spinoff, Cursed Cat Ears! It’s also available to read on Mangadex!

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[ Toilet-Bound Hanako-kun: Ch.101 ]

Please enjoy our translation of chapter 101, Omen (Part 1)! It’s also available to read on Mangadex!

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[ Toilet-Bound Hanako-kun: Ch.100 ]

Please enjoy our translation of chapter 100, Nightlife (Part 3)! It’s also available to read on Mangadex!

Keep reading

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[ Toilet-Bound Hanako-kun: Ch.100 ]

Please enjoy our translation of chapter 100, Nightlife (Part 3)! It’s also available to read on Mangadex!

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[ Toilet-Bound Hanako-kun: Ch.99 ]

Please enjoy our translation of chapter 99, Nightlife (Part 2)! It’s also available to read on Mangadex!

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[ Toilet-Bound Hanako-kun: Ch.98 ]

Please enjoy our translation of chapter 98, Nightlife (Part 1)! It’s also available to read on Mangadex!

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[ Toilet-Bound Hanako-kun: Ch.97 ]

Please enjoy our translation of chapter 97, Firework Party (Part 2)! It’s also available to read on Mangadex!

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[ Toilet-Bound Hanako-kun: Ch.96 ]

Please enjoy our translation of chapter 96, Firework Party! It’s also available to read on Mangadex!