Deemed a strong actor due to his split persona on stage-even though it's really Asahi-Yuya is thrown into the task of helping his new co-star, Yakumo Nanase, for their detective drama. Despite being runner-up for the Up Next Idol Awards, Yakumo has been in the idol business for more than a decade, re-debuting twice. Yakumo is determined to make a strong impact in his role, so he takes on method acting-to the extreme. While everything seems to be going swell for Yuya and Asahi, Yakumo enters a spiral of abiding by his fans' wishes and who he is…

Yuya, one half of the boy pop duo ZINGS, may be the laziest performer in the Japanese music industry. His partner is out there giving 110% every night, but Yuya's sloppy dancing and his frankly hostile attitude toward the audience has the fans hating him and his agent looking for any excuse to cut him loose. The career of a pop idol just isn't the path of easy leisure and adulation Yuya expected... After a particularly lifeless concert appearance, Yuya meets a girl backstage. All she wants from life is to perform. There's just one problem: She's been dead for a year.

This top idol’s a meanie! Yuya Niyodo thought being an idol would mean easy money, but his lackluster performances and apathetic attitude meant his job was on the chopping block…until the ghost of Asahi Mogami possesses Yuya with the aim of becoming a top idol! After a bombastic Hottie Farm, ZINGS is the talk of the idol world. Yuya’s stage persona that switches between hot mess and god status is not only puzzling (and alluring) fans, but troubling Hikaru Setouchi, the leader of top idol group Cgrass, for Yuya’s apparent mimicry of star idol, Asahi Mogami!! Hikaru will not let this stand—for the sake of Asahi’s divine memory…even though it’s technically Asahi inside.

At age 31, office worker Chikage Deguchi feels she missed her chances at love and success. When word gets out that she’s a virgin, Chikage is humiliated and wishes she could return to the time when she was still young and popular. She takes an experimental drug that changes her appearance back to when she was 15. Now Chikage is determined to pursue everything she missed out on all those years ago—including becoming a star! -- VIZ Media

Percy Bysshe Shelley (1792–1822) was one of the major poets of the English Romantic period. This is the final volume of a six-volume edition of The Poems of Shelley, which aims to present all of Shelley’s poems in chronological order and with full annotation. Date and circumstances of composition are provided for each poem and all manuscript and printed sources relevant to establishing an authoritative text are freshly examined and assessed. Headnotes and footnotes furnish the personal, literary, historical and scientific information necessary to an informed reading of Shelley’s varied and allusive verse. Most of the poems in the present volume were composed between late January 1822 and Shelley’s death on 8 July 1822. These include the lyrics to Jane Williams, Fragments of an Unfinished Drama and The Triumph of Life as well as translations from Goethe’s Faust (1822) and Calderón’s El mágico prodigioso. The appendices include editions of Poetical Essay on the Existing State of Things (1811), a poem made publicly accessible by the Bodleian Libraries in 2015 for the first time since its publication, and translations by Shelley from Goethe’s Faust (1815), Aeschylus’ Prometheus Bound (1817) and Homer’s Odyssey (probably 1817). In addition to accompanying commentaries, there are extensive bibliographies to the poems, a chronological table of Shelley’s life and publications, and indexes to titles and first lines. Now completed, this is the most comprehensive edition of Shelley’s poetry available to students and scholars.

After 1500, as Catholic Europe fragmented into warring sects, evidence of a pagan past came newly into view, and travelers to distant places encountered deeply unfamiliar visual cultures, it became ever more pressing to distinguish between the sacred image and its opposite, the 'idol'. Historians and philosophers have long attended to Reformation charges of idolatry - the premise for image-breaking - but only very recently have scholars begun to consider the ways that the idol occasioned the making no less than the destruction. The present book focuses on how idols and ideas about them matter for the history of early modern objects produced around the globe, especially those created in the context of an exchange or confrontation between an 'us' and a 'them'. Ranging widely within the early modern period, the volume contributes to the project of globalizing the study of European art, bringing the continent's commercial, colonial, antiquarian, and religious histories into dialogue. Its studies of crosses, statues on columns, wax ex-votos, ivories, prints, maps, manuscripts, fountains, banners, and New World gold all frame Western 'art' simultaneously as an idea and as a collection of real things, arguing that it was through the idol that object-makers and writers came to terms with what it was that art should be, and do.

Though the Letters of John appear to be among the simplest books in the New Testament, beneath their superficial simplicity lies a minefield of complexities that have generated difficult debates among Christians over the centuries. This commentary by Colin Kruse provides an excellent exposition of John's letters for teachers and pastors working at all levels of Christian ministry; at the same time it offers students and general readers clear insight into the meaning of these Scriptures for the contemporary Christian life.

An unforgiving heart ruins relationships. In these confessions from the author's own struggle, readers can find hope and strength for finally getting rid of the gorilla in their lives.

Challenging gnositicizing interpretations of the letter, Terry Griffith explores how the polemic against idols was variously used in Jewish and Christian circles to define self-identity and the limits of community. He shows that the rhetoric of 1 John is not polemical, but pastoral, directed at confirming Johannine Christians in their fundamental confession of faith and preventing further defections of Jewish Christians back to Judaism. Griffith argues that the christological focus in 1 John concerns the identification of Jesus as the Messiah, and that the ending of the letter both contributes to the author's overall pastoral strategy and sheds light on the issues of sin and christology that are raised in this letter.