Concerning Nayuta Kani as a Literary Writer

“Novels are written and read, I feel, as an act of defiance against the fact that we have but one life to live.” These immortal words came from writer Kaoru Kitamura, but in this regard—the knack novels have of allowing readers to live a life besides their own—Nayuta Kani’s Landscape series has no equal. Its world is based on modern-day Japan, and while it has its quirks, there is nothing that unique about it, and the story itself proceeds in fairly orthodox fashion. The characters are none of the eminent heroes that find popularity in light novels; many of them are notable primarily for their many flaws. However, the reader finds themselves somehow enthralled with them, projecting their own persona onto each one as they become lost in the novels—as if by magic. The expressive tale is told using phraseology so unique fans refer to it as “Kani-ese,” and while that may play a great part in the attraction, one must chalk it up to more than simple words strung together. All the components that make up a novel, from the way the characters are molded and positioned to the settings and expressiveness, come together to form an immaculate balance, conjuring up a force powerful enough to defy analysis. Even if someone took apart the Landscape series and attempted to rebuild it themselves, they could never duplicate the magic at the core of it all. The fact that it has yet to be adapted into a manga, anime, or live-action drama, despite its exceptional sales figures, is likely linked to this. It is fair to say that reading the Landscape series is akin to living out another lifetime—an experience that can only be gained through reading Nayuta Kani’s work. (By Ikeda)

“This ain’t gonna work.”

The editor in chief tossed Ikeda’s printout back on his desk.

This was the main office of Leonardo, a monthly newsmagazine, and Ikeda—still one of the new faces on the staff, having joined just over a year ago—managed the novel-review section.

“…It won’t?” the discouraged Ikeda asked, sizing up his manager.

“I mean, I think I kind of get what you’re trying to say, though.”

“Right?”

“…But this is all written from your perspective. All you’re saying is ‘Wow, this novel’s like magic. It’s totally awesome.’ And you’re just guessing at why it hasn’t been adapted into anything, aren’t you? So yeah, I know what you’re trying to say,” he repeated, “but try again. You’d need to have already read Landscape to understand your point here. We’re supposed to be introducing books to people in this section. What makes this book good? What’s the attraction? Write it so people can pick up on that kind of thing… I know how tough that can be sometimes, though.”

“Yeah, it is,” Ikeda said, hanging his head down as he turned back toward his desk. Then he turned to the editor in chief again.

“…By the way, sir, do you think they’re ever gonna try to adapt Landscape into anything?”

“I haven’t heard about anything getting the green light yet. They must’ve gotten a ton of offers by now.”

“Yeah, no doubt about it.”

“…Though I agree with you: It’s got something you can’t duplicate in any other media. You might’ve actually hit upon something there.”

A long while back, just after the second book in the Landscape series was published, Nayuta Kani was informed by her editor, Yamagata, that the offers for so-called “media mix” campaigns were already starting to roll in. Comic versions, TV anime series, first-run anime films, stage shows, live-action TV dramas and movies—multiple offers for each type of media. And these weren’t fly-by-night opportunists, either—some of the talent involved included name-brand anime studios behind long strings of hits or film directors with a shelf full of major awards on their résumés.

“I think we should really consider at least a few of these media launches,” Yamagata suggested.

“Mmm. If I say yes to that, is that gonna make me a lot busier?” Nayuta answered, looking as spaced out as always.

“Well… There’ll be some storyboards and scripts to read through. You’ll probably have more interview requests, too.”

“That’s okay, then, thanks.”

“Whoa, don’t rush it! This is your chance to get the word out even more about your work.”

Nayuta blushed a little at the flustered Yamagata. “But if I get any busier…then I won’t have as much time to be with Itsuki, will I?”

Yamagata spent most of the next hour attempting to convince Nayuta otherwise, but she never budged. He could tell that the more tactics he tried to employ, the more it simply rankled Nayuta, and creating unnecessary tension between her and the publisher would bring nothing but harm to both sides. Plus, even Yamagata believed that the appeal of the Landscape series wasn’t easily translated to other formats.

It’s not, but it still seems like such a waste, Yamagata thought as he watched Nayuta skip out of the office and toward Itsuki’s place. It was a chance to boost recognition for both the series and Nayuta herself, and she was tossing it away because it might interfere with her time spent chasing men around? Especially a man like Itsuki Hashima? Why did that sister-obsessed ’s deranged library of smut novels even have to exist? …And, of course, they did have to exist, or else Nayuta would’ve never become a writer.

Ah, why did the heavens have to grant such astonishing literary talent to such an insatiably horny young woman? Something about the world Yamagata lived in seemed to guarantee that he never got everything he wanted. If I’d had the kind of talent Nayuta has, Yamagata (a former writer) wailed to himself, I could’ve set off a revolution in the literary world.

Then he realized, It’s times like this when it’s perfect to read a Nayuta Kani novel. You want to turn to people just like yourself, lost in the face of such weighty, inscrutable matters, and live in their lives for a while. It gives you a fresh outlook on life.