But whether or not that’s the case, opening story The Dragon Turret has some overly edited / overly crafted paneling that feels more artsy than readable, making the back and forth of the story a little hard to track – visually – even though we definitely get a feel for what’s what through the characters. If the cover seems indicative of Little Nemo – it does to me – that’s a good touchpoint: these are stories that start somewhere normal and then branch out into the mystical, sometimes erring more toward humor or more toward pathos, but always fascinating, and with tonally appropriate variations in Ryoko’s art style, as befitting each story’s mood.īecause this (or some of it?) was created before Dungeon, there is also some narrative roughness early on, if we’re supposing the seven stories are presented in the chronology of when they were made. But there’s even wider appeal, here, as Kui’s lil’ fables are of that term’s mold, not so much requiring awareness of / appreciation for the fantasy and RPG tropes that can help shape DiD, and not having the (misleadingly) niche focus of cooking manga. In any case, whatever Kui's next work might be exactly, I'm sure it'll be something we can look forward to.It’s an easy recommendation: if you like (or LOVE) Delicious in Dungeon, Ryoko Kui’s collection of 7 short tales – Seven Little Songs of the Dragon – will also guaranteedly be liked or loved. Seven Little Sons of the Dragon, Terrarium in Drawer), so I'm not against her doing something completely different after this, although I will say: the idea of a slice-of-life modern Dungeon Meshi spin-off is pretty endearing. I love the world of Dunmeshi with all my heart, yes, but we've seen other instances of great storytelling from Ryoko Kui (e.g. "Dungeon Meshi but in a modern era" could be a spin-off series on its own!Īs for myself. Some of them even take place in a modern setting, like Senshi and Izutsumi going to a fast-food or the whole cast doing a Christmas gift exchange. One of the reasons we love this manga so much is its fantastic, well thought-out worldbuilding, so it'd be a shame if Kui didn't make more use of it in her next series, right? At least, that's an opinion I see very often.Įvidently, Kui does love the world she's created, too, judging from all her sketches and side stories. But wait, that's nothing new, is it? And even back when it wasn't time for the final arc yet, people were already wondering what Kui would do after this.
The story of Dungeon Meshi is coming to an end. (I looked for a similar thread and found nothing if there was actually one, my bad!)
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