Afterword
Hello, this is Hiro Ainana.
Thank you very much for picking up the fourth volume of Death March to the Parallel World Rhapsody!
Thanks to all the readers’ support, the book version of Death March has just celebrated its first anniversary!
I’ll devise more schemes to keep you all from getting bored, so I hope you’ll continue reading Death March in the future.
Before we start discussing the highlights of this volume, there’s something I have to advertise.
If all has gone according to plan, the first volume of the Dragon Comics Age manga adaptation of Death March to the Parallel World Rhapsody by Ayamegumu should be on sale at the same time as this volume, so please pick it up if you’re interested.
With detailed depictions of characters that aren’t illustrated in the books, settings like the street stalls, and all kinds of items and accessories, it’s a wonderful expansion of the world of Death March.
While reading it, I often found myself admiring the way certain scenes were depicted, thinking, So that’s what that looked like!
You won’t regret buying it! As the original author, I guarantee it.
That little plug went on longer than planned, so let’s talk about the highlights of this volume now.
As with the previous volume, this one features new episodes and a better-organized story, and most of it is newly written for the book version.
The story this time is about the Muno Barony, which we heard some nasty rumors about in the previous volume.
In the name of the suffering populace, Satou uses his superhuman powers to defeat an army of evil and banish corrupt aristocrats— Well, it’s not exactly as righteous as all that, but you get the idea.
Satou is more the type of person who prefers not to get much more involved than donating food supplies where he can and doing a bit of volunteer work.
However, he ends up being more heroic than his comfort zone normally entails, including saving a race from the brink of extinction on the side or defeating disastrously strong monsters in passing and using them for cooking ingredients…
But what’s changed most from the original version might be the treatment of Miss Karina, who appears in the book’s frontispiece.
In the web version, she finally showed herself to Satou at the climax of the story, but this time she shows up much earlier. And since Satou now has a reason to visit the giants’ village, the flow of the world in the book is a bit different from the web version.
Plus, I also added some backstory on why the demon was trying to take over the Muno territory.
In addition, the subplots of each chapter now tie into one another, like a long campaign in a tabletop RPG.
Perhaps you might say that the smaller incidents are like gears that eventually turn the wheel of the larger plot…?
Even the incident with the kobolds and the silver mines from the previous book ends up being tied in like that.
To find out what sort of scenario unfolds from all this, please refer to the main story.
If any of you are asking, “What’s a tabletop RPG?” I would suggest that you look into a site like Fujimi Shobo’s TRPG Online for beginners.
Of course, the main attraction of this volume has to be the illustration of the most magic-breasted character in Death March, Karina!
At the time of writing this postscript, I’ve seen only the initial character designs, but the depiction of her b— That is, her appearance was even better than my own mental image.
Being able to see an ideal vision of Miss Karina like this makes me feel truly lucky as an author.
Well, I’m reaching the upper limit of my page count, so I’ll stop going on about volume four’s contents now.
Now then, it’s time for the usual list of acknowledgments.
My editor Mr. H’s comments and revision advice helped me to vastly improve the charm and realism of various scenes. Please continue to guide and encourage me in the future.
I can never thank shri enough for always enlivening the world of Death March with such wonderful illustrations. Please keep crafting the visuals of Death March from here on out.
I also want to thank everyone involved in the publication and sale of this book, especially everyone at Fujimi Shobo.
Finally, the biggest thank-you of all to you, the readers!!
Thank you very much for reading to the end of the book!
Well, let’s meet again at the river in the next volume!
Hiro Ainana
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