It’s not often that a story can be as good in all its different adaptations, but Akumi Agitogi’s My Happy Marriage is that rare case. The original light novels, anime, and manga all offer something a little different, and all three forms allow us to absorb different elements of the story and characters. These three manga volumes follow Miyo’s ups and downs as she begins to feel comfortable in her new life before circumstances (and people) conspire to bring her down once again, and series artist Rito Kohsaka has created Very good use of body language and appearance to reflect. human emotional state. Even before Arata and Kiyoka comment on Miyo’s weight loss and emaciation, we can see it in the progression of the images, something that is especially clear if you read at least the book consecutively. three and four. We can also clearly see the changes in Arata’s demeanor—or at least in what he wants to express—in the changes in his posture, both sitting and standing, with scenes he moves from an informal (or at least less formal) pose to one that shows his intentions more clearly.
Since Arata’s motives are a major factor in episode four, that’s definitely a plus. At this point, he’s one of the more interesting characters in the story, even if you already know his actual role in the anime or light novel. Even though Kohksaka doesn’t wear glasses, it wasn’t necessary to emphasize his vague plan because of the way his entire body language and facial expressions were presented, and this artwork does a great job of showing it off. how Kiyoka saw how uncomfortable he was without actually feeling uncomfortable. understand why. There’s something quietly alarming about Arata, like he’s very close to his boiling point, and seeing the other characters almost override the warning signs because they’re preoccupied with their own concerns. Other concerns are both impressive and stressful. Since we see this at the same time as Miyo’s apparent decline and Kiyoka’s increasing problems at work, episode four stands out as especially good.
Luckily, all three episodes were fine. Episodes two and three include the kidnapping plot, and viewers of the anime will notice clear differences in the depiction of Koji, Miyo’s first suitor and childhood friend. Koji is shown to be too rude to act in other versions of the story, but here there is a very disturbing aspect to his actions—his original plan was to “save” Miyo and himself. His body speaks of his depression and despair but also shows that, like Miyo, he was beaten by his family and felt as though he did not matter. Since Lord Tatsuishi is clearly a villain in this arc, that gives us a better idea of how Koji was treated growing up and how he may have been pushed to choices that were almost how deadly it was when his father’s overwhelming ambition took over the lives of the Tatsuishi family. Koji is a sadder character than his first appearance, and while he’s clearly not a good choice for Miyo (though they could have gotten along well enough), it’s hard to to not feel sorry for him. He’s almost like an Ashlad (male Cinderella) character, but without any saviors waiting on the horizon.
The idea of so-called fairy tale endings appears in interesting ways in these books. Besides Koji who is still stuck in an engagement he doesn’t want, we also have Hazuki, Kiyoka’s older sister. Hazuki walks in as Miyo asks Kiyoka for permission to learn how to be a proper lady. At first, she seems like the complete opposite of him, which he wholeheartedly agrees with. But then it was discovered that Hazuki is a modern woman in more ways than one—she doesn’t just have flowing hair and dresses in an upscale Western style (which is much more realistic than the anime ), but she is also divorced. Although divorce was much more common in the 1920s in most parts of the world, Hazuki still clearly felt the stigma of it, especially since she was not the one instigating it. When she recounts the story to Miyo, it becomes clear that marriage does not suit her personality, despite her love for her husband, and he realizes that, implying that divorce rather than marriage is the key to her happier life. But that’s too modern a perspective for Hazuki to feel comfortable with, especially since it rejects what’s working wonders for Miyo.
These books suggest that everyone is allowed to be their own person with their own desires and preferences. demand. This is partly what Miyo was denied growing up; In her stepmother’s attempt to make her feel less vulnerable, Miyo learns that she doesn’t deserve anything—not being herself, not even food or basic needs. copy, let alone the things her mother specially left her. She’s trying to get over that thought, but the nightmares we see her in speak to the trauma left in her mind and that’s not something anyone can understand. . Kiyoka is doing his best to, even though he is hindered by her reticence, Arata is still very considerate of what he thinks she deserves. It was better than Saimoris believed she deserved, but it still didn’t take into account Miyo herself. Miyo, like Hazuki, will not be happy until her truths are understood and met, and no one can know what they are until she can realize them for herself. By the end of episode four, that still seemed very far away. Luckily, the story is good enough that reading until she gets there doesn’t feel like a chore.
