In Volume 12's Omibashira arc, Tanuma spends most of the story sensing yokai-related things: Sensei not being Natsume, the bottle, the presence of the monkey oni, the separation of the yokai world itself, and Omibashira. Each of these is accompanied by the same "zawa" sound effect that accompanies Natsume encountering strong yokai energy. Tanuma gets hurt because he doesn't trust his senses, and tries to confirm Omibashira visually.

In Volume 16, Tanuma reveals he always knew Ito-san was not what she claimed to be, and that he had come to believe she was "an ayakashi or something like that" once he learned they were real. The same story reveals that Natsume's presence has stabilized Tanuma and allowed him to grow stronger physically and have fewer headaches and illness. In other words, Natsume's power offsets the negative effects of Tanuma's power.

In Volume 22, Tanuma has a vision while Natsume sleeps peacefully, adding another dimension to his sensitivity. Later he tells Natsume the staircase yokai is not the one he dreamed of because its face was different and it didn't feel "malevolent." As is often the case, Tanuma was dismissive of his vision (ability) until Natsume validated him.

Later in the same volume, we finally get the origin story for the Book of Friends. This implies a major turning point in the manga as a whole.

Tenjou-san, in Volume 23, is the story of the four boys and Homura-sempai's investigation of the eponymous possibly-cursed painting. At one point, Tanuma says this:

夏目の世界はあいまいなものがいっぱいなんだな　おれは…やっぱり時々夏目と同じ世界を見てみたいなと思うけど　見えるものが違うからこそ確認しあえることもあるのかもしれないなって "Your world is full of uncertain things, huh? I… still feel like I want to see the same world as you, sometimes. But I also think sometimes it's because we see differently that we can confirm things with each other."

The context for this is not the painting, but rather Natsume's fear that Homura-sempai could be a yokai—Natsume's "unstable world." Natsume brings this up again at the end, but Tanuma's role remains unresolved. That's because this dialog was never meant to set up the end of Tenjou-san—it's meant to set up the end of his entire arc. Tanuma couldn't help yet because he doesn't accept that he can "judge the authenticity" of magical objects until By Invitation of the Queen in Volume 29. Realizing he can also sense who is human and who is yokai is yet to come. If he can tell the difference, that means his power offsets the negative effects of Natsume's power.

In Intermission Detectives, Volume 24, only Tanuma is able to ignore the unimportant and notice the significant yet tiny details. Nishimura and Kitamoto are preoccupied with the leading lady and what her beauty implies, while Natsume is too distracted by the possibility of a yokai in disguise to think about anything else, arguably too distracted to enjoy the movie. That means every Tanuma story between Tell Me Your Name and Village of the Sleeping Vessels has had a yokai in disguise—or the possibility of one—as a major plot point.

Village of the Sleeping Vessels introduces Tanuma's "light," an ability he has had few opportunities to use. The same story introduces Ban, a character who can somehow judge the authenticity of magical objects. Ban's name literally means "companion."

This is the beginning of the "female collector" storyline, which also has undertones of "growing up." Hence the combination of Reiko (Natsume's foil must grow up before him), Natsume's interest in magic (to be independent of his mentors/protectors), and Sensei's vulnerability as well as his frequent long excursions (to motivate Natsume's independence or reliability). Tanuma is central because he is meant to be Natsume's life-long partner, without whom Natsume cannot have the life he wants.

In an author's note, Midorikawa-sensei describes Tanuma as "surely able to support Natsume, but unable to come." This is a marked shift from the critical tone of most previous Tanuma notes, a shift which is maintained throughout the "female collector" stories. This is also the same "support" from Tanuma's "dilemma."

Like Intermission Detectives, By Invitation of the Queen (Volume 29) juxtaposes Tanuma's high perceptiveness with Natsume's confusion and fear of yokai in disguise. The same story is Natsume's first physical meeting with the "female collector" Shinobu. It is not a coincidence that she meets him at Tanuma's side, or that Tanuma is the "hero" of the story. His strengths will be relevant to the rest of Shinobu's storyline. Natsume is the one who realizes Tanuma has the power to sense what is real or not, and Tanuma himself is initially skeptical. However, his description of the "occult" fakes as "clean or pure" and Ban's dolls "oozing something sinister" suggests that he is sensing spiritual energy. It is also similar to how he described the yokai in the Volume 22.

Portrait of a Girl implies that Tanuma's power is significant through Matoba and Ban. Matoba's curiosity and the constant threat of meeting Tanuma builds tension, and Ban's shock at Tanuma's ability to see the light in the mirror suggests that they share the same rare ability. The ceiling yokai is able to hide from Ban by hiding from the mirror, implying Ban also shares Tanuma's weak sight. At another point, Natsume overhears an exorcist talking about his ability to use "good tools" even with fading (weak) sight. This isn't about Natsume or the regular exorcists, so it must be about Ban and his dolls, Tanuma, or both.

いつも友人の側に行きたい気持ちを抑えて蚊帳の外で待たなければならない田沼がすでに内側にいる状況 [や、一族の中で生きてきた的場さんの身内の事情や術具についてなど、] 描くことができて嬉しかったです。田沼は実際は出来ることは多いのに本人出来ることなんか大して無いと思ってしまうタイプかもしれないと感じました。 "I was happy drawing things like Tanuma, who has always had to wait outside the mosquito net, repressing the desire to go to his friend's side, but is suddenly on the inside […] I have a feeling Tanuma might be the type who thinks there's not much he can do when in reality he can do many things." (Volume 31) [n.b. the "mosquito net" idiom was used in Nitai-sama when Tanuma described being allowed to help "instead of being outside the mosquito net"]

Matoba is almost suicidally obsessed with "tools," his sister (perhaps spitefully) collects them, and Ban is a scout for magical things, so it makes sense during this storyline to focus on Tanuma's own ability to scout. However, there's little to no set-up for this ability in the manga. Even Tenjou-san, which was the perfect opportunity to hint at his ability with the painting, hinted at identifying yokai instead. The coexistence of the "pure" painting with the "pure" humans is not coincidental, but a retroactive hint to future readers that the ability to recognize what is "real" is the same whether the the "real" applies to an object or person.

So while Tanuma's ability to scout "powerful" tools may be important in the short term, it's a mere step toward his true power. The ultimate goal is to reveal that Tanuma's sensitivity to spiritual energy extends to yokai as well, and that he can tell Natsume what is yokai and what is not and even, it seems, what is malevolent and what is not. Through this, he would become irreplaceable, the only person Natsume can trust to give him peace, to affirm his unstable world, and to allow him to be as indifferent to random yokai as Shinobu.

The only thing that works against this is the inconsistency with which Tanuma appears to notice yokai. But this has been addressed through his "ability to judge authenticity." When Natsume first points out that Tanuma knew the box wasn't real, Tanuma initially dismisses his feelings as a "hunch," before going on to talk about how he never had a chance to be exposed to fakes before. He then admits that the "occult" collection felt "clean or pure," but he only noticed because he had Ban's dolls as comparison just before.

Natsume himself describes Tanuma to Natori as "cautious" and "deep thinking." In other words, he is the opposite of impulsive, only acting when he has gathered enough evidence to make a case. Tanuma would have felt things many times without reacting until he had more to go on. Fun fact: when Natsume first brings up Tanuma's power, he actually starts by talking about how he was "spinning in circles" "confusing [human matters] for ayakashi matters" unlike Tanuma who "sees people clearly." Midorikawa-sensei is a troll.

Tenjou-san (yes, again) addresses this gap from a different angle. When Natsume considers telling Nishimura and Kitamoto the truth, Tanuma suggests Natsume still needs the "space to be treated normally" "unlike me, who always worries and asks if there's something there." In other words, Tanuma feels bad about talking about yokai unnecessarily, which means he's not going to mention a feeling he doesn't think is important. This likely goes back to Volume 5, when Natsume admitted to lying about yokai and wanting to keep things "normal" between them. (The original Japanese is an incomplete sentence, but this is what he seemed to be getting at.) This is why, for example, Tanuma says he "didn't want to bother" Natsume when he wasn't sure he was possessed in Volume 8. He's not just unsure of himself—he's actively avoiding potential validation to give Natsume space. This is also probably why he gets more… excitable recently—the more Natsume talks about yokai, the less Tanuma feels the need to hide his interest.

All of this only addresses Tanuma's power and how it solves his dilemma. It is heavily implied that Tanuma's dilemma is at the heart of his sense of inadequacy and, in turn, his "characteristic sense of distance" from Natsume. This suggests that the reveal of the true extent of his power could lead to him being more open and finally closing that gap. But I'm not quite sure of this. Despite Tanuma's feeling of a "wall" between him and Natsume and being "unable to keep up," they're much closer than they used to be. This could mean that it's their closeness that will lead to revealing his power, thereby centering Natsume's emotional development rather than Tanuma's insecurity. And that matters because their emotional bond is at least as important as what their powers mean to each other.

While the hints at Tanuma's power have been comparatively subtle, his emotional support has not. Throughout the manga, Tanuma has helped guide Natsume through his anxiety and emotional trauma. He listens to him talk about his grandmother being an unwed mother with powers like him, confronts him over hiding his true needs, and sees through his lies or silence when others can't. In Volume 13, Tanuma's role in Kitamoto's story implies that he grounds Natsume and allows him to accept attachments to the town and the Fujiwaras. In the Volume 26 notes, Midorikawa even says that Natsume is able to deal with "sorting out his feelings" by spending time with Tanuma without even talking. This emotional connection is particularly evident with the Fujiwaras, whom Tanuma is invested in because of their importance to Natsume. In Volume 20, for example, his conversation with Natsume about the Fujiwaras is clearly framed as something between the two of them, that Taki can only observe.

This Fujiwara theme makes its appearance in Portrait of a Girl when Tanuma gets invested in Morio's relationship with his adoptive parents. These characters are an obvious mirror for Natsume and the Fujiiwaras. At the end of the story, it is also Tanuma who resolves Natsume's feelings of anxiety about why Morio sold off all of his parents' belongings. I had previously thought of Tanuma's emotional support as a kind of parallel to his power, but the mingling of the above with Tanuma's increasing involvement with the exorcist/magic world changed my mind.

Tanuma's emotional support relies on his empathy, understanding of people, and ability to see what others don't. It's not one single thing. When Natsume talks about Tanuma's ability to "see people" he also brings up his "night vision" which is a completely separate ability from all of the above. There is overlap in the abilities he uses to help Natsume with the ordinary world (e.g. Fujiwaras) and the abilities he uses to understand what is yokai and what is ordinary. This is why By Invitation of the Queen is simultaneously about Tanuma's ability to see through people and his ability to sense the "purity" of the box. Tanuma's extraordinary perceptiveness is an entire collection of talents, all of which he can use to see what Natsume can't, to give Natsume inner peace, to allow him to live in the moment instead of constantly looking over his shoulder. But only if he's there—just as Natsume can only offset Tanuma's sensitivity if he's present.

If Natsume is allowed to support Tanuma in the same (or similar) ways, and if Tanuma realizes how powerful he truly is and Natsume allows him to help, then their relationship will be truly balanced. They will be able to support each other in all ways, in all worlds, without worrying about being too much or too little.

all are from the official viz releases, translated by lillian olsen.

Chapter 3 - Natsume vs Human I wanted a bit of a break, so l did this episode the way l wanted (one can only hope). A lot of stories about exterminating yokai exist, so I wanted to do a story about punishing humans. In chapters 1 and 2, Natsume spent more time with yokai than with humans, so having him make a friend was another one of my priorities. I wanted the reader, at the end of the episode, to be happy that he made a friend (Natsume would blush). So I hope it worked out. I hope I will be able to include stories like this sometimes.

Special Episode 4 - Natsume Observation Log 3 Tanuma hadn't shown up in a while, and I had thought that he and Natsume would have a good relationship by now. But when I started on the episode, I discovered that they were still pretty awkward with each other. I’m used to Natsume smiling and talking about neutral topics, but it was fun drawing Natsume getting flustered and making the wrong decision in a conversation. It's hard to work Tanuma into the plot since Natsume never goes to him when he's involved in yokai business. I cut his bangs to "expand his world view," but people said he looked better with longer hair (l rarely get requests from readers on how the characters look), so l grew them out.

For reference - Tanuma's first appearance:

Tanuma's second appearance:

Tanuma in this Special Episode:

[three panels cropped to show close-ups of tanuma's hair. in the first, his bangs fall over his eyes. in the second, they are significantly shorter. in the third, they are longer again, but no longer blocking his eyes quite as much.]

Chapters 28 - 29 - Reflections I kept missing opportunities to do an episode on Tanuma, because I was afraid I couldn't give him the time and attention he deserves. Then I was assigned a two-part episode, so l knew this was my chance. I feel that Natsume is embarrassed because he wants to get closer, but is just not used to that kind of thing. This time, he found out how it feels to be the one being avoided. These colleagues all know about the existence of yokai, but when he's with Mr. Natori, Natsume wants to take a step forward. With Tanuma and Taki, the difference is a desire to take a step back. I hope I can depict such subtlety. I also realized how fun it is to draw the interactions between students.

Chapters 42 - 43 - Sealed I’ve always wanted to draw the trio of Natsume, Tanuma and Taki hanging out. Before, Tanuma thought he might be a little crazy, but Natsume affirmed what used to be an unstable world for him. Natsume’s existence was basically his salvation, but he realizes that he can’t be much help to Natsume. It's a dilemma he’ll have to keep facing as his friend. On the other hand, I’ve discovered that Taki, who also can’t see but knows Natsume’s circumstances, is delighted at the things she discovers. It’s difficult but fun to draw these three together. I was also happy drawing Taki’s empty house, images of a white ghost flapping in the darkness, and small yokai hopping and frolicking about.

Chapters 49 - 51 - Beyond the Glass Tanuma wants to help and tries to help, but he can’t. The more he tries to take action, the more he comes up against this wall. Natsume gradually realizes that while he wants to talk to Tanuma, it also puts him in a dilemma. Seeing this, Natori wants to say, “I told you so,” but he hopes that Natsume will be able to succeed where he failed. I was also excited that I could draw Sensei/Natsume with expressions that he doesn’t usually make. Natsume is really not very expressive with his face.

Volume 14 (Sidebar Note) When the name and the face fit perfectly as I start working on a character, it usually develops from there as I expect. But Tanuma didn't easily become fast friends with Natsume as I planned. He seems endlessly nervous. He's actually quite calm, but when Natsume's around, he becomes nervous trying to become better friends with him, making Natsume also nervous in the process. He's difficult to figure out. But it's a new experience, so he's fun to draw.

Chapters 57 - 59 - Unchanging Form I came up with this story that would've been an ordinary day for Reiko. It might've been a big deal for Natsume or the yokai, but it was nothing special for her. Natsume started panicking that something precious to him would be taken. You can imagine what a person would pick, but the rules are different with yokai. The scope of possibilities is too big, making it difficult to predict. I had fun imagining what I would take if I were Yew Urn. The Fujiwaras are important to him even though he hasn't been able to tell them everything. Tanuma was the first person in this town he was able to talk to about being able to "see" things, who was able to understand without being able to "see" himself. I hope Natsume will be able to sort his feelings while telling him about the yokai.

Chapters 66 - 67 - Far-off Festival Lights Natsume and Tanuma both want to spend time together simply as normal friends, but the difference in their ability to see is unavoidable. Natsume shared his secret with Tanuma, but Nishimura and Kitamoto still don't know. Tanuma sees that he can't have that relaxed relationship anymore that they can have with Natsume. And Natsume, seeing Tanuma turn pale with every little occurrence, is probably less inclined to ever tell the others. I wanted to see what would happen if they were all hanging out together. I was also happy to finally include the story about Tanuma and Mrs. Ito, but I wish I could've made it longer.

Chapter 74 - The Two Terrors I wanted to do an episode where Natsume takes a different tone of voice than usual, so I picked Shibata, since I consider him to be a semi-regular cast member. There are a lot of stories I want to do, or characters I want to revisit, but this is my first time working on such a long series, so I have no idea how to reintroduce characters and story lines or how to time it. So there are many ideas gathering dust, but I'd like to see how it goes and do another one like this. I also want to draw more of Tanuma, but it's important for Natsume to not go to see Tanuma when there are yokai involved, so it's quite a dilemma. But I'd like to include the idea that they loaf around on those mundane days that can't be included in a manga. It was fun drawing Shibata in a panic.

Chapter 78 - Tsukihigui I wanted Natsume to have different reactions that usual, so I picked a story not in the past or in the present, but a weird in-between. I debated a lot whether to have little Natsume be taken care of by the Yatsuhara yokai or the humans Tanuma and Taki. But upon further reflection, since Nyanko sensei is yokai, Tanuma and Taki would have a different approach to the situation and be more fun. It would've been interesting to go to Natori and have all three of them stare at each other with furrowed brows, but I discovered that whereas Natori would have a difficult time adapting to a situation like this, the students would display steadier nerves.

Chapters 85 - 86 - The Front Noren I wanted to use the premise that the front and back of an object can have different meanings. Such a simple but unshakable fact could be very interesting. I wanted Natsume and Sensei to hang out more with Tanuma and Taki, but once yokai get involved, there's the dilemma that only those who can see yokai should be the ones taking action, so I had to carve up the story a lot. I even wondered if I should depict them relaxing in the hot springs, or whether that kind of thing was appropriate for the occasion. I thought I could get through the scenario quickly while I wrote out the plot with prose, but once I started drawing, I wondered if I could get through it without questioning everything. Natsume has started to get nerves of steel against yokai, but I still want him to be careful when it comes to his dear friends having close encounters with yokai.

Chapter 87 - Natsume in the Moonlight This one was 30 pages, so it was compact, but I wanted to make something that was a little creepy. You know how it's exciting to see a friend late at night, in a different light? This story couldn't be done with Tanuma, who knows Natsume's circumstances. It was only possible with Nishimura, who wouldn't question who the person in front of him was. If Natsume went to visit Kitamoto at night, he'd panic, scold him and send him home. And Tanuma would notice that something was off and cross-examine him. It would get even more out of hand with Natori, causing a domino effect. Though all of them would be fun and exciting. I only realized after the fact that someone who knows about Natsume's circumstances would make things more complicated in this type of story.

Chapters 97 - 98 - A Suspicious Visitor Tanuma, who stands by Natsume, may not be able to see yokai like his friend, but he has his own special abilities that other people do not possess. At the same time, there are things that can never be the same. When I draw Tanuma, I feel like Natsume is trying to close the distance between them for a change. You'd think they'd be great buddies by now, but there's still a bit of awkwardness. It's strange to blame it on Tanuma, but there it is. I'm just happy I got to work on this story, since I've had the idea ever since I drew the illustration for the afterword of the volume where he made his first appearance.

Afterword illustration from volume 1:

[a black-and-white illustration of misuzu in their usual horse-like form and tanuma]

Chapters 103 - 104 - Where Vessels Lie in Slumber* I was so happy to work on a longer story for once. My head starts filling up with what to do next while I'm still working on the current episode when I'm in one-shot mode. But being able to linger on a story arc reminded me of the excitement I felt back when I first wanted to be a manga artist. I still have a lot of storylines I'd prefer not to cut short, so I hope I get more opportunities like this. I've wanted to do this particular story for a long time, but. I feel like it could only be done now because of how Natsume's currently feeling. I hope you can pick up on how Natori and Matoba's relationship changes subtly depending on the situation, and that you get a feel for their solidarity as exorcist peers. It was so fun drawing everything I wanted to include: Natsume's faith in his friends; Natori's belief that he can still offer help even as an exorcist; Matoba, who's sometimes prevented from action because he knows and sees too much; Tanuma, who's surely able to help, but is unable to accompany Natsume; the cats protecting their secret; Nyanko Sensei. And of course there were even more things I wanted to expand on, so I'll take my time working them out.

*The first three chapters of this arc are in the previous volume and there's not enough in the other note for me to include.

Chapter 112 - The Three Pictures and the Peculiar Afternoon Tea You can have the desire to help people you care about, but I think it takes a lot of courage to take that first step to offer it. I can see Tanuma and Natsume fumbling about in this regard, but I feel that Taki would have an easy time confiding in Natsume when she's in trouble. The premise was to have someone appear just as Natsume and friends had a spread of pictures on their table at a cafe. The content changes drastically depending on who shows up, so I simulated a lot of scenarios. It was a good opportunity to think about all sorts of situations.

I usually don’t do pairings when I want to post some general things but they just act like they're having a fun date...

史信(Shinobu). Natsume: He looks like a host instead of a writer LOL

黑峰美彩(Kuromine Misa)

Left: 有砂(Arisa). But she wants to be called Kurara. Right: 雨宮(Amamiya)

如月一美(Kisaragi Hitomi). The owner of the house.

Girls: *blush* Boys: 0 o 0 Host: OK she is beautiful. I don’t know why but I think this page is interesting LOL

He was frightened by the thunder LOL

Amamiya thought they failed in calling Youkai but Shinobu reassured her that she's just thinking too much. I love how he said: “because of my job nature, I know that most of our thoughts are just thinking too much. But I know, there must be one thing that’s true.”