Review by Ian Keogh

Over the first two volumes Tomohito Oda has shown Komi becoming more confident, still unable to verbalise her answers due to crippling social anxiety, but now able to respond to people via writing notes on a pad. It worked well during Volume 2.

However, as if to reinforce that the method provided is a starting point rather than a solution, Oda’s opening chapter, or ‘communication’, shows the social anxiety remains as Komi spends a sleepless night mulling over the day’s interactions, feeling herself inadequate. It’s heartbreaking.

The opening chapter, though, isn’t an indication of the overall mood, which is far more upbeat and is more typical of teenage manga where the kids go out and enjoy themselves. Or it would be if Oda’s art wasn’t a cut above. It’s not been entirely obvious, but time has been moving steadily forward since the series started, and we’ve now reached the summer holidays. Whereas this previously used to be a period of isolation for Komi, she now has enough friends to make a trip to the swimming pool, and unlike the shorter stories of earlier books, that trip occupies most of Volume 3.

The final five chapters are back to the territory that’s been so successful to date. Each has a different topic, and for the first time we meet Komi’s father, with whom she seems to have a telepathic relationship. An ending at the funfair is an upbeat finish, and the summer holidays continue in Volume 4.

While funny and charming, and containing one revelatory interlude, 75% of the book moving so far off topic makes for a slight dip in quality.