My Companion Insisted I Wash My Hands of the Past
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Tsuboi Kikue is a fifteen-year-old assassin operating in Yokohama, a city where supernatural abilities are commonplace. She possesses an ability called "Jet-Black Wings," which manifests as large, non-flying black wings that serve as shields, blades, and propulsion tools. The power is fueled by her embarrassment and requires her to shout dramatic, chuunibyou-style slogans to activate; the more cringey the chant, the stronger the ability becomes. Despite her effectiveness, the embarrassing nature of her power has forced her to work alone, as other assassins find partnering with her socially awkward. She ranks among the top three killers in Yokohama but maintains a low profile to protect her real identity.

Oda Sakunosuke is a fourteen-year-old assassin known simply by his real name, ranking number one in the city. He is characterized by his emotionless demeanor, red hair, and exceptional combat skills, which appear to include precognition. Unlike Kikue, who kills for money and survival, Oda kills with mechanical precision and no emotional attachment. After years of solitary work, Oda decides to quit the profession after reading a novel with a torn-out ending. He wishes to understand human life to write his own stories, so he donates all his earnings and resolves to never kill again. His last contract is to eliminate Kikue, who had carelessly become entangled in a corporate power struggle.

When Oda confronts Kikue, he effortlessly defeats her, recognizing her inferior skill. However, instead of killing her, he offers her a choice: join him in his new life or die. Kikue, facing certain death and the ongoing threat from the conglomerate that hired him, accepts his offer. Oda reveals he will protect her from future threats despite his vow not to kill, establishing a partnership based on mutual survival rather than romance. They begin living together in Kikue’s small apartment, navigating the transition from assassins to civilians.

The two struggle to adapt to ordinary life. Kikue seeks stable employment, taking a job at a convenience store and recruiting Oda as a part-time worker. Oda approaches this new experience with philosophical curiosity, asking Kikue about human emotions and the meaning of life. Kikue, who has always lived for survival and money, finds Oda’s abstract questions difficult but tries to guide him. Their dynamic shifts as Kikue takes on a protective, almost maternal role, managing their finances and daily routines while Oda remains passive and compliant.

As they settle into their new routine, former associates and enemies begin to resurface. The conglomerate that originally hired Oda sends assassins to eliminate Kikue, believing she is still a threat. Kikue fights them off using her Jet-Black Wings, but Oda intervenes, incapacitating the attackers without killing them, thereby honoring his vow while ensuring Kikue’s safety. This incident solidifies their bond, with Kikue realizing that Oda’s presence provides a security she never had as a solo operative.

The pair encounters Edogawa Ranpo, a young detective with a deductive ability, and his bodyguard, the Silver Wolf. Ranpo quickly deduces Kikue’s identity as the Jet-Black Wings based on her behavior and relationship with Oda. This encounter highlights the contrast between the criminal underworld and the emerging detective world in Yokohama. Oda’s interactions with Ranpo and the Silver Wolf reveal that his past actions have left a mark on other key figures in the city.

Kikue and Oda continue to search for a sustainable career path. Kikue considers opening a bakery or dessert shop, inspired by Ranpo’s gluttony, while Oda remains open to any opportunity, though he lacks direction. Their relationship evolves into a deep companionship, characterized by unspoken trust and shared history. Despite the lack of romantic declaration, their daily lives together suggest a profound intimacy forged through shared trauma and the transition from killers to ordinary youths. The story follows their attempts to build a future in a city that refuses to let them easily leave their past behind.

Novel Items

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Ability
Tsuboi Kikue's special ability, which has a chuunibyou vibe. To activate it, she must shout dramatic and cringey slogans—the longer and more dramatic the chant, the stronger the ability becomes. The ability manifests as black wings that are actually props; they cannot fly but help her push off surfaces using her own jumping ability.
Ability
Suspected ability of Oda Sakunosuke that allows him to see the future or react reflexively without hesitation. He dodged every strike from Kikue with ease during their fight, moving almost mechanically without emotion or fear, as if he could predict her every move.
Weapon
Oda Sakunosuke's weapon of choice. He is known by rumors as the red-haired assassin who uses dual guns, never misses, and makes cold-blooded, expressionless kills with perfect shots.
Event
Oda Sakunosuke's new career goal after quitting assassination. He was inspired by a novel about a killer protagonist who stopped killing, but the last few pages were torn out, leaving him curious about why. He believes that to become a novelist he must truly understand what it means for humans to live, which is why he decided to stop killing and experience ordinary life.
Event
A dozen masked men in black attacked the carriage carrying Qiao Shuang and Song Yuejiao on their way back from the Qiao Mansion. They were dispatched by the Qi family, with some having 'Qi' carved on their necks and others having 'Duan family' labels. Their original target was to disfigure Song Yuejiao's face, but Qiao Shuang was injured instead.
Item
Ji Jiujiang's assassin persona, which she considers handing over to Oda Sakunosuke due to his similar archetype as a philosophical emotionless killer.
Latest Release
DateGroupRelease
2026-08-11shanghai fantasy c5
2026-08-11shanghai fantasy c4
2026-08-11shanghai fantasy c3
2026-08-11shanghai fantasy c2
2026-08-11shanghai fantasy c1

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What I love about this worldbuilding is how seamlessly it layers the dangerous with the domestic. We're talking about people with supernatural abilities, criminal records, assassination attempts, and Port Mafia connections — and they're also washing fruit, opening a milk tea shop, and wrapping New Year's gifts. The dessert shop detail is genuinely brilliant worldbuilding. Kikuye does MARKET RESEARCH. She considers the skill requirements, talks to the shop owner, pivots from complex desserts to milk tea because it's more practical. This isn't just flavor text — it's a character who treats running a business with the same strategic mindset she applies to everything else. And Xiao Zhi suggesting "Extra Spicy Milk Tea" because spice is pain, not taste, to someone who's numb to danger — that's worldbuilding through character psychology. The detective agency run by Ginro and Ranpo operating in a gray area between police and army is such a smart addition to the Yokohama underworld ecosystem. It gives the story institutional depth — there are rules, there are power structures, there are people who exist between the law and chaos. And Chuuya working for them, earning money to pay off his debt, creates this whole ecosystem of interdependent relationships. The New Year's Eve gathering at the end — the shop owner's home, the awkward couple-vibe tensions, Ranpo being excited, Silver Wolf reluctantly coming along — it paints this picture of a chosen family so ordinary and warm that it almost hurts, especially when you remember what these people are capable of.
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The pacing here is honestly insane. We go from 'I almost got killed' to 'let's be roommates and buy cat mugs' across four chapters and it works because the author never lets the tension sit still. Chapter 4 starts with the most dangerous moment—two killers in a room, one deciding whether to retire—and immediately pivots to domestic logistics. Who sleeps where, who takes the softer blanket, who does the dishes. The shift from life-or-death to 'you're on trash duty' is so abrupt it's hilarious, and it keeps you reading because you never know which tone is coming next. Then there's this beautiful rhythm of tension and release. She stares at him in the dark, her combat instincts flaring, he asks if something's wrong, and then drops the 'I will protect you' line. Boom. Released. Then immediately—next morning, convenience store, restocking shelves. The mundane snaps back in like a rubber band. The cliffhanger energy is more subtle here. It's not 'will she live?' but 'will this weird domestic arrangement actually hold?' And the author knows exactly when to pull the thread. Like when she brings up the conglomerate still being alive and Oda immediately catches the hint. That's a pacing masterclass—raising the stakes without breaking the cozy mood. Some parts drag slightly (the internal monologue about retirement funds gets long), but honestly I was too invested to skip anything.
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I need to talk about this one moment because it destroyed me. Oda Sakunosuke — the boy who has watched himself die thousands of times, who speaks in flat, deadpan sentences — looks at Kikuye and Chuuya and says, with absolutely zero emotional inflection: "I feel a little jealous." And then he can't even explain WHY. "There should be a reason... but none of the reasons I can think of feel sufficient. So I don't know." Do you understand what that means? This is a person who can predict five seconds into the future with perfect accuracy, who has calculated every possible outcome of every interaction, and there is literally a gap in his understanding that his ability CANNOT fill. He knows what will happen, but he doesn't know what he FEELS. That is devastating. And Kikuye's reaction — she pokes his cheek, celebrates her success silently, then tells him that all those possible futures aren't the future and that right now he's just sitting there talking to her. She grounds him. Not with grand declarations, not with emotional speeches, but with the simplest possible truth: you are alive, you are here, this moment is real. The romantic tension between them is absolutely simmering under the surface but neither character seems to fully recognize it. Kikuye explicitly thinks about how she'd refuse a confession, how she sees romance as dangerous because of Momiji's story, and yet she's the one who reaches out first, who closes the distance, who insists on knowing what Oda was about to say. And Oda — Oda hesitates. For a character who has seen every possible future, the one thing he cannot predict is what he wants to say in the present. That hesitation, that closed mouth, that "it's nothing" — it's the most romantic thing in this entire chapter.
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Okay so I need to talk about the face-pinching scene because I literally cannot stop thinking about it. This whole dynamic between Kii and Oda is so weirdly wholesome and I'm here for it. On the surface it's just this chaotic energy from Kii—she's clearly flustered about something (anger? attachment? she won't admit which) and her solution is to physically grab Oda's face. But the way Oda reacts is what kills me. He doesn't fight back. He doesn't even seem that surprised. He just sits there, hand covering his face, looking genuinely confused like his precognition somehow failed to predict THIS of all things. And then the follow-up conversation? Chef's kiss. "Why did you pinch my face?" — asked with zero drama, zero accusation, just genuine curiosity. And Kii's internal panic is so relatable. She literally thinks about how asking "why not" would make her sound like a creepy person. The self-awareness! But what really gets me is that Oda says "please don't do that next time" — and the fact that he uses PLEASE. This is a guy who can probably see the future and still asks politely. That's not weakness, that's a whole different level of emotional maturity. Also the whole "are we companions?" moment in Chapter 11? Kii freezing up over that question is the most honest character moment in the entire passage. She's overthinking friendship labels like it's a bomb defusal. And Oda's just sitting there like "why is that a question?" — bro, you're the one who brought it up! The tension between them is everything. She's clearly afraid of him (or at least acknowledges it), but also completely unafraid in practice. That contradiction is the whole relationship in a nutshell.
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The stakes in these chapters are deceptively simple on the surface—two kids sharing an apartment, working at a convenience store—but underneath there's this constant undercurrent of danger that never fully goes away. The external conflict is clear: the conglomerate that hired Oda to kill the protagonist is still alive and won't forget a failed hit. She literally says this to his face: 'you know that conglomerate I got involved with hasn't gone under yet, right?' And his response—offering to protect her—means he's now taking on a threat he could have just walked away from. But the internal conflict is where this really gets interesting. Oda is trying to become someone who doesn't kill, but the protagonist is already planning around the possibility that she'll need to. She's not actually retiring; she's just changing tactics. And Oda? He's performing a new identity. 'I just wanted to know how the story ended… If anything, it might have made me a little restless.' That line about the novel making him restless—what does that mean for someone trying to build a new life? The most tense moment isn't an action scene. It's lying in the dark, one meter apart, both of them aware that the other could end their life at any moment, and choosing not to. That's the real stakes here—not just survival, but whether these two can actually trust each other enough to let their guard down. And honestly? I'm terrified for them. Because the moment they do relax is the moment something will go wrong.
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Okay, let me just say this out loud because it genuinely surprised me: the entire Chuuya subplot is held together by a five-million-yen debt that somehow becomes the most important relationship-building tool in the book. Think about it. Kikuye lends him money, sets absurd terms, and instead of it being some exploitative thing, it becomes the thread that stitches him into their found family. And Oda — cold, detached Oda — gets JEALOUS over it. Not jealous that Chuuya is close to Kikuye, but jealous that a KID owes her money. That is such a bizarre, specific emotion to have, and it completely recontextualizes everything about how these characters bond. The plot structure here is really clever because it operates on two levels. On the surface, it's a debt collection story with side jobs and a dessert shop opening. But underneath, every transaction is actually an emotional transaction. When Kikuye says she values information more than money — that's not just a cool line, that's her survival philosophy. And when she reveals her ability's weakness (emotional dependency), it mirrors Oda's weakness (emotional numbness from seeing his own death repeatedly). Two broken people who can't function normally, finding each other through criminal enterprises and shared trauma. The plot doesn't just move forward — it spirals inward, deeper into who these people actually are.
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