Plot
Read or Die takes place in an alternate history world where the British Empire has remained a major superpower. The Empire's continued existence is guaranteed by the British Library (大英図書館, Daiei-toshokan?), an external intelligence agency working within the actual British Library and its Special Operations Division (the British Secret Intelligence Service, more widely known as MI6) is also often mentioned, despite Kurata's editors (erroneously) telling him it no longer existed.
The series follows Yomiko Readman, also known as "The Paper", a superhuman agent of the Library's Special Operations (possessing a "double 0" certification that denotes a "license to kill", as in the James Bond series, although she rarely invokes it). In both the novels and manga, her adventures alternate between doing missions for the British Library and helping young novelist Nenene Sumiregawa.
Only the first novel and first manga have similar stories, involving rescuing Nenene Sumiregawa from a vicious kidnapper. Otherwise, the novels, manga, and animated versions of the stories have divergent plotlines. While characterizations are usually consistent even when storylines are not, some characters have different origins in different versions of the story, or do not appear at all. Still, it's mostly an ongoing story told through different media from the novels to the animated series so far.
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Famous quotes containing the word plot:
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)
“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)