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The Executioner and Her Way of Life
2020s light novel series and its adaptations From Wikipedia, the free encyclopedia
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The Executioner and Her Way of Life (Japanese: 処刑少女の生きる道, Hepburn: Shokei Shōjo no Bājin Rōdo; lit. 'The Executioner Girl's Virgin Road'[a]) is a Japanese light novel series written by Mato Sato and illustrated by Nilitsu. SB Creative released eleven volumes from July 2019 to March 2025 under its GA Bunko imprint. The series follows Akari, a girl summoned from Japan to another realm who gains the power to control time, and Menou, a young priestess tasked with killing Akari to protect the stability of her own world.
A manga adaptation with art by Ryo Mitsuya was serialized in Square Enix's seinen manga magazine Young Gangan from June 2020 to April 2024, with its chapters collected in seven tankōbon volumes. Both the light novel and manga are licensed in North America by Yen Press. A 12-episode anime television series adaptation by J.C.Staff aired between April and June 2022.
The debut light novel volume won the grand prize at the 2018 GA Bunko Awards, and by January 2024, the series had over 400,000 copies in circulation. The light novels have been well-received by critics, particularly for their characters, worldbuilding, and unique approach to the isekai genre. The anime adaptation has also received favorable reviews, with several critics naming it among the best anime series of 2022.
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Synopsis
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Setting
The story takes place in a world parallel to Earth, whose inhabitants built an advanced civilization through the influence of summoned individuals from Japan. These individuals, called Lost Ones, wielded powerful abilities known as Pure Concepts.
However, it was discovered that Lost Ones would inevitably lose control of their abilities, leading to calamity. One thousand years ago, four Lost Ones caused disasters that rendered much of the world uninhabitable.
To prevent such disasters from reoccurring, the summoning of Lost Ones has been strictly forbidden by the Faust, those serving under the Church. Among the Faust are Executioners, who wield magical Guiding Force and secretly assassinate any Lost Ones who still appear.
Premise
Top-class Executioner Menou is ordered to eliminate Akari Tokitō, a Lost One summoned by King Grisarika. However, she fails and discovers that Akari possesses the Pure Concept of Time, allowing her to unconsciously reverse her own death. Pretending to escort her home, Menou sets out on a journey with Akari while searching for a way to kill her. Along the way, the two face threats from monsters, criminals, and even the Faust itself, while Menou struggles with increasingly conflicted feelings about her mission.
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Characters
- Menou (メノウ, Menō)
- Voiced by: Iori Saeki[4] (Japanese); Annie Wild, Brittney Karbowski[5] (young) (English)
- A young priestess who assassinates Lost Ones before their Pure Concepts become a threat. She is aware that most of the Lost Ones she kills are innocent, but her training dictates that they cannot be allowed to live. After failing to execute Akari, Menou acts as her escort while searching for a way to kill her.
- As a child, Menou was the sole survivor of an accident involving a Lost One. The disaster left her soul "bleached" and wiped away her memories and desires. She was then discovered by Flare, the top Executioner at that time, and taken on as an apprentice in Flare's image. Menou possesses strong control over her Guiding Force[b] and wields a knife and magical scripture.
- Akari Tokitō (時任 灯里 / アカリ, Tokitō Akari)
- Voiced by: Moe Kahara[4] (Japanese); Melissa Molano[5] (English)
- A Japanese high school student who was summoned to the world by King Grisarika. Her Pure Concept, "Time", gives her control over various elements of time, allowing her to instinctively reverse her death. She is portrayed as rather naive, but also kind and innocent, leading her to easily trust Menou because she believes that their encounter was fate. In truth, Akari has already made the world regress multiple times to prevent Menou's death, erasing her own memories each time and leaving only a deep love for Menou.
- Momo (モモ)
- Voiced by: Hisako Kanemoto[6] (Japanese); Cat Thomas, Holly Segarra[5] (young) (English)
- A young priestess and Menou's aide. Momo has been in love with Menou ever since they became childhood friends. She grows jealous of Akari after seeing how close she is becoming with Menou. She wields a wire saw and prefers to fight physically.
- Ashuna (アーシュナ, Āshuna)
- Voiced by: M.A.O[6] (Japanese); Rachael Messer[5] (English)
- A warrior princess from the Grisarika kingdom. Rash and bold, Ashuna has little regard for noble duties and prefers to seek out strong opponents to battle. Though she dislikes the Faust, she is willing to work with Menou and Momo against common enemies. She fights using a heavy sword enchanted with flames.
- Flare (フレア, Furea)
- Voiced by: Yūko Kaida[7] (Japanese); Molly Searcy[5] (English)
- A legendary and ruthless Executioner famed for her incredible skill in magecraft as well as killing many Lost Ones. After saving a young Menou from a Lost One, Flare took her in as an apprentice. She has the ability to remember past iterations of the world created by Akari's power, and is responsible for killing Menou and Akari if Menou fails to follow through on her mission.
- Orwell (オーウェル, Ōweru)
- Voiced by: Tamie Kubota[7] (Japanese); Shelley Calene-Black[5] (English)
- The Archbishop of the Church and Menou's direct superior, who orders Menou to bring Akari to the capital of Garm to be executed. Menou later discovers that Orwell, having grown disillusioned from her years of service, has been kidnapping young girls to drain their youth, and intends to force Akari to reverse time on herself. Her plan fails after Menou uses Akari's Pure Concept to age Orwell to death.
- Mitsuki (ミツキ)
- Voiced by: Yuma Uchida[7] (Japanese); Bryson Baugus[5] (English)
- A Japanese high school student who was summoned to the world with Akari by King Grisarika. His Pure Concept is "Null", which allows him to completely destroy any object. He is killed by Menou to prevent him from abusing his power.
- Manon Libelle (マノン リベル, Manon Riberu)
- Voiced by: Manaka Iwami[8] (Japanese); Kristen McGuire[9] (English)
- The daughter of Count Libelle, her father, and a Lost One, her mother. Because she never inherited her mother's powers, people often scorned her. After her mother was killed by Flare, Manon grew to seek death. She leads a subversive group called The Fourth, who aim to tear down the world's class system. While publicly naive and mild-mannered, she has a penchant for sadistic murder. She is Pandæmonium's older sister, though Pandæmonium arrived in the world long before her.
- Pandæmonium (万魔殿 / パンデモニウム, Pandemoniumu)
- Voiced by: Anzu Haruno[8] (Japanese); Juliet Simmons[9] (English)
- A Lost One that came to this world over one thousand years ago, though she appears like a ten-year-old child. Her Pure Concept is "Evil",[c] allowing her to summon monsters. Due to losing control of her powers, she became one of the disasters known as the Four Major Human Errors, and behaves only with the desire to spread chaos. She is Manon's younger sister despite having arrived before her.
- Sicilia (シシリア, Shishiria)
- Voiced by: Akeno Watanabe[8] (Japanese); Courtney Lomelo[9] (English)
- A priestess in the city of Libelle who manages the local church. She is initially unfriendly towards Menou, having encountered her mentor Flare in the past, but eventually grows to respect her.
- Sahara (サハラ, Sahara)
- A nun who encounters Menou while Menou is rescuing Akari from a smuggling organization. She has known Menou since childhood. Though she betrays Menou out of jealousy for Menou's apprenticeship under Flare, she eventually changes her mind and journeys with her.
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Production
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Light novels
Conception
Sato had prior writing experience before beginning The Executioner and Her Way of Life, having published two other light novel series. He cited Tomihiko Morimi's works as having shaped his approach to engaging storytelling, while the atmosphere of his writing was inspired by Kaho Nashiki's style.[10] The Darker than Black anime series also motivated him to explore a new genre.[10]
While the series draws on common conventions of isekai narratives, Sato sought to subvert the genre by adding his own original elements.[11] He described the story as a "stylish spy action fantasy" with "chunibyo" and "steampunk" elements,[12] later characterizing the combination as a "mash-up of [his] interests".[13]
Several aspects of the series were chosen by Sato to challenge himself. Although Sato had no prior experience with darker themes, he included them anyway to facilitate character development.[12] In addition, he incorporated extensive worldbuilding and fight sequences, two other areas in which he had less familiarity, as part of this process.[11]
Development
While developing the story, Sato sought to avoid placing characters in "tragic positions" solely as a consequence of the "dark" tone of the work. Instead, he aimed to characterize them through how they overcame difficult conflicts, depicting them as incomplete individuals who would have to change throughout the narrative.[12][14] One of the central themes he identified was being able to accept oneself despite having committed unforgivable acts.[14]
The opening of the first novel was written with a primary focus on atmosphere and worldbuilding, while action scenes became more prominent in the middle and later sections. In addition, Sato organized the plot of the story around a single central scene and then developed the other parts of the narrative from that foundation.[10] For subsequent novels, he took a more flexible approach; in an afterword to the second volume, he remarked that he seemed to "never know the characters' futures until they happen".[15]
The light novels were illustrated by Nilitsu, who worked with Sato on aspects of the visual setting and some character designs.[10] Sato was pleased by the final illustrations,[13] stating that they effectively conveyed the characters' personalities.[10]
Characters
Sato opted for an all-female cast to explore relationships between women, believing that the inclusion of a male protagonist would create expectations of heterosexual romance. By focusing exclusively on female characters, Sato sought to explore both platonic and romantic relationships with greater emotional depth.[11]
The principal characters were developed an emphasis on giving them clear motivations. Menou was conceived as an ordinary individual whose strength stemmed through hard work, who Sato characterized through her ability to overcome adversity despite her average abilities.[10] Although she is shown as holding herself to strict standards, Sato described her as being comparatively warm with others[14] and a "strong and determined" character.[16] He intended the story to focus around Menou's perspective, calling the narrative a "world with Menou at the center even as it threatens to leave her behind".[15] By contrast, Akari was shown to possess greater natural power while lacking the knowledge to effectively use it. As a result, Sato's portrayal of Akari emphasized her friendly personality and unconditional kindness towards Menou.[10] He cited her forwardness and lack of self-awareness as especially charming traits.[14]
For the supporting characters, Sato took a differing approach but still strived to portray them as fully realized individuals. Momo was written to be an relatively simple character whose complexity gradually emerged as the narrative progressed, particularly through the use of flashbacks. Sato described Momo as his favorite character and one he especially enjoyed writing. In contrast, Ashuna was characterized more consistently throughout the story, being portrayed as a strong and honest person who became entangled with the others against common enemies. Sato considered her distinctive for the constancy of her personality.[10]
Release
The series was intended to follow the sense of "momentum" associated with typical web novels that Sato enjoyed. However, he ultimately released the work as a light novel out of a desire to create a "single epic story", rather than keeping reader interest with "real-time developments".[12]
Sato later remarked that the writing process was not difficult, and that he finished the first volume in two months.[10] After completing the manuscript, he submitted it to the 2018 GA Bunko Awards, an annual contest hosted by the publishing company SB Creative.[12] To his surprise, he won the Grand Prize for the first time in seven years and secured publication.[10] Though he initially planned on an bimonthly release schedule, he eventually decided to take a slower approach to writing the later volumes.[15]
Manga
Adaptation
Ryo Mitsuya, the artist for the manga adaptation, remarked that adapting a previously published work was a difficult task. Although the plot was already written, they[d] felt it was challenging to adapt it in a way which would please audiences from different mediums. As one example, they noted that while they personally disliked fan service, it would appeal to some parts of the magazine's readership.[17]
Mitsuya began by reading the light novels and looking for ideal points to divide the story for serialization, along with important moments to adapt visually. They then focused on balancing content to build tension while ensuring that each chapter concluded with a cliffhanger. They opined that the visual details of manga made it particularly crucial to maintain reader engagement, to the extent where the art was comparable in importance to the plot itself. Maintaining ideal pacing and clarity was challenging for Mitsuya, who had to often cut and rearrange material for narrative flow.[17] In an afterword to the sixth volume, they explained that the fast pace of the manga required the omission of several interludes from the light novels.[18]
Mitsuya focused heavily on the visual portrayal of the characters, stating that they wanted to "draw lots of interactions and expressions that do them justice".[19] They described himself as getting "invested" emotionally in the story, and wrote that they "hope[d] my art conveys all of [the characters'] charm to the reader too".[20] While smaller details like background art and coloring were typically left to assistants, Mitsuya sometimes wanted to complete entire scenes personally.[17]
Following the completion of each chapter, Mitsuya would consult with both an editor and Sato to ensure fidelity to the original work and to fix any issues associated with serialization.[17] In addition, Sato wrote short stories and afterwords for the manga, while Nilitsu contributed original illustrations at the end of each volume. To further inform their portrayal of the characters, Mitsuya visited the anime recording studio to observe the voice actors' performances.[21]
Anime
Adaptation
Sato worked closely with the director, Yoshiki Kawasaki, and the writer, Shōgo Yasukawa, of the anime adaptation. Sato attended every script meeting to determine the most important parts of the original work to adapt. Yasukawa noted the challenge of abridging the light novels' content to maintain audience interest, stating that Sato's "diligence" allowed the studio to "do justice" to the original work.[12] Kawasaki likewise praised Sato's collaboration, explaining that Sato understood the unique elements involved in animation and was flexible when changes were required.[22] Sato himself was deeply impressed by the adaptation, announcing that his "heart [was] full of gratitude and excitement" for the coming series.[23]
The adaptation required Kawasaki and Yasukawa to carefully plan out the structure. Initially, they focused on creating a memorable premiere by pairing what they felt was the strength of the original premise with expressive animation. Later episodes were similarly written to stay faithful to the source material, particularly the focus on Menou's perspective.[22] Episodes 1–6 were described by Yasukawa as being like a prologue, while the second half of the series increasing in both narrative and visual complexity.[24] He remarked that while he found the ending of the first volume "cathartic", it was an "enormous pressure" to depict onscreen.[12]
In regards to the overall adaptation, Kawasaki and Yasukawa aimed to convey the overarching emotions of the original novels while prioritizing unusual moments which embodied the "author's soul".[12] To this end, Kawasaki's main directorial priorities were showing character emotion and telling the story itself, with particular attention given to Menou's gradually deepening relationship with Akari.[24] Alongside this, he and Yasukawa worked to create a "weird and appealing setting" which supported the central drama.[12] Kawasaki mentioned the challenge of balancing humorous moments with more serious ones, remarking that he was only satisfied after considerable trial and error.[24]
According to Yasukawa, Momo was his favorite character to write because of her energetic personality. He stated that the pairings between characters were a major part of the story, with the "quirks" of each pairing often giving rise to especially "entertaining dialogue". While reflecting on the series, Yasukawa expressed lighthearted disappointment at the lack of interactions between Akari and Momo, adding that he wished to write some if a second season was produced.[12]
Looking back on the adaptation, Yasukawa described depicting scenes set in the past as the "biggest challenge" of the adaptation. Because these moments were central to the narrative, he had to consulted extensively with Kawasaki to portray them well.[12]
Animation
Kawasaki approached animation as a means of characterization, expressing the view that generic character designs would be monotonous. In contrast to traditional animation styles which relied on highly stylized facial features, he incorporated more realistic expressions to depict a broader emotional range, particularly as the narrative progressed.[24]
For action sequences, Kawasaki gave the animation team a high degree of creative flexibility, believing that that visual execution would ultimately have a greater impact than his own directorial input. One notable exception was his request that the animators to incorporate stylistic elements from Western cinema. In particular, he took inspiration from the movie Once Upon a Time in the West for a scene set in a ruined town, as well as aspects of Flare's character design.[24]
The series' visual setting drew on a wide range of influences. Kawasaki modeled technological designs on elements of Art Deco while also incorporating motifs based on the late 19th and early 20th centuries. He planned to feature prominent Japanese signage, but later scaled back this idea at the request of the "surprisingly conservative" producers.[12]
Furthermore, one of the adaptation's primary challenges was the visual portrayal of the story's magic system.[12] After consulting with Sato, Kawasaki opted to preserve the rapid incantation style of the novels while also focusing on aesthetic appeal. He compared the final result to computer code rendered with a "sci-fi angle".[22][12]
Voice acting
Iori Saeki, the voice actress for Menou, found her part as challenging due to her character's emotional ambiguity. Kawasaki gave her considerable freedom in interpreting her role, so she focused on naturally conveying her feelings throughout the course of the narrative.[25] Moe Kahara, who voiced Akari, also emphasized her character's duality, such as through the emotional expression in scenes which hinted at Akari's secrets and backstory.[26] In an interview where the two discussed their impressions of the light novels, Kahara described the frequent plot twists as being a core element, whereas Saeki was more interested in the interactions between the characters.[27] Both Saeki and Kahara stated that they wanted their performances to respect the original work.[14]
Hisako Kanemoto and M.A.O, who voiced Momo and Ashuna respectively, portrayed the secondary character pairing. Because their characters frequently appeared together, their actresses worked to make their interactions engaging, depicting the two becoming closer despite their initially hostile encounter.[26] Kanemoto adjusted her tone and register depending on Momo's degree of friendliness with the other three lead characters, using this variation as a means of characterization.[28]
Several other voice actors gave brief insights into their characters. Manaka Iwami, who voiced Manon, described her character as having a gentle demeanor; she focused on conveying darker and more hidden aspects of her personality.[29] Similarly, Yūko Kaida, the voice of Flare, felt that her character's exterior masked deep loneliness, which she tried to express despite finding the role initially difficult. Tamie Kubota, Orwell's voice actor, commented on the originality of the series, stating that she was repeatedly surprised by each script. She decided to portray Orwell with distinct and often contradictory traits like kindness and bitterness.[30]
Soundtrack
When planning the opening theme, "Paper Bouquet" by Mili, Kawasaki sought to avoid what he described as an "utterly banal 'correct anime opening'", instead focusing on the expression of symbolic themes. Among the sequences he singled out was what he called a "ridiculously 'incorrect'" scene in which Akari reverses time on Menou's body, intended to symbolize Akari's repeated attempts to rewind the world to save her. He also noted the synchronization of the animation with music, such as the "showing off" of dynamic visuals timed to the beginning of the chorus.[12] Cassie Wei, Mili's lead vocalist, characterized the song's mood as one of "fortitude, intensity, and [...] poignancy".[31]
ChouCho, who composed the ending theme, "Tomoshibi Serenade" (Serenade by Lamplight), based her music off the atmosphere of the original work. She aimed to convey the story's dark tone while maintaining a delicate sound.[32] At the studio's request, she kept the lyrics ambiguous so that they could be interpreted from either Menou or Akari's perspective. ChouCho described the lyrics as being filled with strong emotion despite being relatively restrained.[33]
In his portrayal of Ashuna, Kawasaki drew inspiration from the dark heroes of Japanese period dramas such as Hissatsu Shigotonin and Ōedo Sōsamō. He requested the composer, Michiru, to evoke a similar feeling in Ashuna's background music. Kawasaki was surprised but pleased by the final result, which featured stylized elements such as a flamenco guitar motif.[24]
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Media
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Perspective
Light novels
The light novels of The Executioner and Her Way of Life are written by Mato Sato and illustrated by Nilitsu. After Sato won the Grand Prize at the 2018 GA Bunko Awards, securing publication, SB Creative released the first light novel in July 2019 under its GA Bunko imprint. SB Creative would subsequently publish eleven light novel volumes, ending with the simultaneous release of the tenth and eleventh volumes in March 2025.[34]
On September 5, 2020, Yen Press announced at the Crunchyroll Expo panel that they would start publishing the series in English in February 2021.[35] As of December 2025, nine English-language volumes have been released.[36]
Manga
A manga adaptation with art by Ryo Mitsuya was serialized in Square Enix's Young Gangan magazine from June 5, 2020, to April 19, 2024.[37][38] Its chapters were collected in seven tankōbon volumes. On September 24, 2025, Square Enix began releasing English chapters of the manga on its Manga Up! service.[39][40]
Anime
At the "GA Fes 2021" event livestream, it was announced that the series would be receiving an anime television series adaptation.[4] The series was animated by J.C.Staff and directed by Yoshiki Kawasaki, making his directorial debut,[22] with Shōgo Yasukawa supervising scripts, Keiko Tamaki designing characters, and Michiru composing the series' music. Egg Firm and SB Creative produced the series. It aired from April 2 to June 18, 2022, on Tokyo MX, BS11, and AT-X.[42][43][e] The first six episodes cover the first volume of the novel series,[44] and the last six cover the second one.[45] The opening theme song is "Paper Bouquet" by Mili, while the ending theme song is "Tomoshibi Serenade" (Serenade by Lamplight) by ChouCho.[6]
Sentai Filmworks licensed the series outside of Asia and is streaming it on Hidive.[46] On May 11, 2022, Hidive announced that the series would receive an English dub, which premiered on May 20.[5] Medialink licensed the series in Southeast Asia, South Asia, and Oceania (minus Australia and New Zealand).[47]
Other media
A 12-episode internet radio program to promote the show aired every Friday on Onsen Internet Radio Station from January 28 to July 1, 2022. It was hosted by Iori Saeki and Moe Kahara, who played Menou and Akari respectively, and featured guest appearances by Hisako Kanemoto (Momo), Yuko Kaida (Flare), Tamie Kubota (Orwell), M.A.O (Ashuna), Maika Iwami (Manon), Anzu Haruno (Pandæmonium), and ChouCho (singer and lyricist of the ED).[48]
A crossover event between the series and the game Is It Wrong to Try to Pick Up Girls in a Dungeon? Infinite Combate was held from April 22 to May 6, 2022, featuring Momo as a playable character.[49] Another crossover event, between the franchise and the online game Girls & Creatures, was held from June 23 to July 7, 2022, featuring the four main characters as heroes as well as Manon as a special boss.[50]
On August 31, 2022, a Blu-ray edition of the first part of the anime was released, featuring episodes 1–6 of the anime, episodes 1–9 of the radio program, art designs by Nilitsu, a special character booklet, and an original short story by Sato set in a different timeline. On September 28, 2022, a Blu-ray edition of the second part of the anime was released, featuring episodes 7–12 of the anime, episodes 10–16 of the radio program, and similar bonuses to the first edition, including another short story by Sato.[51]
Yen Press published an audiobook version of the first light novel volume under its Yen Audio imprint on December 22, 2023. The audiobooks subsequently covered up to the eighth volume of the series, and were narrated by Annie Wild, the English voice actor for Menou.[52][53]
On March 14, 2025, GA Bunko released an art book by Nilitsu with illustrations from the light novel. It also included several original drawings, and a short story by Sato.[54]
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Reception
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Perspective
Light novels
Sales
By February 2022, the series had over 300,000 copies in circulation.[55][56] By January 2024, the series had over 400,000 copies in circulation.[57][58] BookWalker, a Japanese e-book store, reported that the series ranked 25th on its list of most-downloaded light novels in 2022.[59]
Accolades
The debut volume won the grand prize at the 2018 GA Bunko Awards, becoming the first work to win the grand prize in seven years.[38][60] The judge review commended it for its creativity, with particular praise for the pacing and balance of the narrative.[60]
In 2020, the series was awarded seventh place at the Light Novel Lover Bookseller Awards, an event which had bookstore clerks across Japan vote for their favorite light novels. Two selected reviews spoke positively of the emotional themes and pacing of the plot, while the last review noted how the story filled in a perspective missing from traditional isekai works.[61][62]
Critical reception
The premise of the work and its overall treatment of the isekai genre were commended by several reviewers.[63] Anthony Gramuglia of CBR praised the first volume, calling it "required reading" for fans of isekai. He also opined that it would appeal to readers less interested in the genre, writing that it stood out as "distinctive" from other series by "subverting pre-existing expectations".[2] Similarly, Demelza of UK Anime News voiced her enjoyment of the "fresh take" of the debut novel, scoring it a 9/10 and concluding it offered "plenty to keep readers invested".[64]
The worldbuilding was also generally well-received.[63] Sean Gaffney of Manga Bookshelf described the magic system as "fantastic", "well thought-out" and "integrat[ing] nicely with the world's religion".[65] Erica Friedman of Yuricon was similarly impressed, calling the worldbuilding "deeply unusual" for a light novel in its detail and originality, giving the first two volumes an 8/10 rating.[66][67] However, both Gaffney and Friedman were less enthused about the dark tone of the story, with Friedman feeling it was unnecessary.[65][66]
Several reviewers commended the characterization of the all-female leads. Gaffney wrote that while the story featured typical archetypes, each character had significant depth. He was particularly impressed by Momo for her "touching" background and "terrific" epilogue.[65] Similarly, Demelza called Menou a "compelling protagonist" and opined that Akari's backstory hinted at greater depth beyond her "happy-go-lucky" portrayal.[64] Adam Symchuk of Asian Movie Pulse remarked that the first volume was "endearing" and "utterly adorable", praising Sato for "excel[ling] at capturing personality in every aspect".[68]
The pacing and balance of the plot were more divisive, with some reviewers enjoying the flow of the narrative and others finding it unbalanced. Symchuk was ambivalent on the balance between humor and action, calling it "choppy at certain points", but nevertheless noted that he found the book a "joy to read".[68] In contrast, Demelza commented positively on the continuity of the story, stating that the second volume "buil[t] on the mysteries" of the first volume while setting up "fascinating" possibilities.[64][69]
Though most critical analysis focused on the first two light novels, which were adapted into the first season of the anime, several critics commented on the later volumes. In a piece for Anime Corner, Brett Orr named the fifth volume as one of his top ten light novels of 2023, calling it a "high water mark" and a "climatic reveal" for the series.[70] Rie Takahashi, who voiced Emilia in the isekai series Re:Zero, recommended the series in an interview with the organizers of the Next Light Novel Award, praising its pacing and portrayal of Menou's desire to fulfill her duty.[71]
Manga
Critical reception
Similar to the light novels, several reviewers praised the series' perspective on isekai.[72] Brett Orr, writing for Honey's Anime, recommended the manga for its "redux" of the genre, stating that it "cut straight through the mundane mess of so-so fantasy".[73] Sara Smith of Graphic Library also saw the story's "spin" on isekai as a strong point, particularly its examination of genre conventions.[74]
Orr commented positively on the cast, describing the story as "perfect female-led fiction" that "refused to compromise on its own ideals" and noting its relative lack of fan service as well as its yuri subplot.[73]
In regards to the pacing, Sara Smith of Graphic Library praised the "satisfying amount of buildup" before the main action and concluded by giving an overall rating of 8/10, writing that the last few chapters hinted at an "exciting and steady" future.[74] Orr considered the pacing a "little slow" but nevertheless described it as a "ride" that would "twist and turn" readers' emotions.[73]
Reviewers differed on the quality of the adaptation. Orr enjoyed the style of the manga, calling it a "streamlined take on the original source material" that was able to "bring [...] the world to life", whereas Justin of TheOASG was more neutral, opining that while the story offered "interesting characters in a really fascinating world", the manga was "just about one-to-one" with the light novels.[73][72]
Anime
Popularity
After the first episode aired, the series ranked first on Anime Corner's weekly audience survey of 42 shows, receiving 12.04% of audience votes.[75] After the sixth episode, the midpoint of the show, the series ranked third, while after the twelfth episode, the finale, the series ranked fifth.[76][77]
In a poll conducted by Anime Corner with 26,734 participants, the show placed fifth in the "Fantasy Anime of the Year" category with 9.63% of the votes.[78]
Critical reception
The first episode received warm reviews. Vrai Kraiser of Anime Feminist praised the balance between "slick and inventive" fighting sequences and quieter moments of reflection, emphasizing that the show avoided "empty action".[79] Caitlin Moore and Nicholas Dupree of Anime News Network (ANN) both gave the premiere five stars, with Moore lauding the "incredible sense of balance" in the pacing and dialogue and Dupree commending the "clever" premise and "compelling" conflict. Dupree concluded that the show gave "every reason to come back for more".[80]
The series' characters were frequently praised for their complexity. Steve Jones of ANN described the diverse personalities of the leads as the "real appeal" of the show and "wonderful" to watch, while Dan Mansfield of The Fandom Post highlighted their "great chemistry".[81][82] Moore concurred, stating that the show created a "complicated, varied, and messy" female cast without "softening" them.[83] Several reviewers mentioned Menou and Akari's relationship as a strong plot point;[81] James Beckett, writing for ANN, opined that Akari's "warped expression of genuine love" was an engrossing dynamic,[84] while Steven Blackburn of Screen Rant praised how their connection "transcended" genre norms with "heartbreaking" depth.[85] Menou's characterization was particularly well-received, with Berkely Hermann of The Geekiary voicing approval of how the story "ma[de] you sympathize with Menou" despite her morally ambiguous nature.[86] However, some reviewers leveled criticism at Momo's portrayal; Rebecca Silverman of ANN disliked her "obsessi[ve]" personality,[80] while Kraiser felt that her antics were a "jarring swerve" which "thankfully taper[ed] off" later on.[79][87]
The originality and overall direction of the plot were commended by several critics. Hermann described the show as "unlike any other series" for defying "commonly used tropes" from the very first episode;[86] similarly, Gracie Qu of Anitrendz was enthused with the narrative for consistently being able to "throw a curveball".[88] Regarding the pacing, Jean-Karlo Remus of ANN wrote that the story "[went] places" and was "absolutely entertaining" from beginning to end,[81] while Zeerak Ahmad of Anime Corner remarked that he found the series "fantastic" for being able to "surprise you with a great episode when you least expect it".[89] The uniqueness of the worldbuilding was also praised, with Moore describing it as "well-constructed" in its originality.[83] Likewise, the "instantly fascinating" and "fleshed-out" world impressed Dupree, who lauded it as a "minor miracle" for its unusual depth.[80] Qu gave particular praise for the story's magic system, calling it "incredibly interesting" and the fight scenes involving it "exhilarating".[88]
Similarly to the light novels, the series' approach to the isekai genre was widely acclaimed, with descriptions ranging from "honest-to-god clever"[80] and "a fresh take"[85] to "cathartic"[87] and "heads and shoulders above other isekai".[81] Naledi Ramphele of Game Rant, contextualizing that the genre had become "saturated" and "oft-derivative", named the show as a "brilliant" subversion of audience expectations,[90] while Kraiser argued that it used genre conventions as a "springboard" for a "satisfying" and "original" narrative.[87] Beckett acclaimed the premise for putting a "fun twist" on "tired modern isekai tropes", concluding that the series delivered a "genuinely compelling" story.[91][92] Analyzing the series as a whole, Richard Eisenbeis of ANN summarized that the show was a "fantastic deconstruction" of isekai which "built a world" around taking typical elements to their "most logical extremes".[93][94]
The production value received mixed-to-positive comments. Mansfield was unenthused with the animation, noting that the show had "visual storytelling prowess" but sometimes failed to deliver on its potential.[95] Qu concurred, stating that it often "fell flat" outside of fight scenes. Conversely, Berkely acclaimed the "amazing" animation as a key aspect of the show,[96] while Ahmad was impressed by the overall production, particularly the "excellent" cuts.[89] The music was less divisive; Beckett named the opening theme "Paper Bouquet" as his favorite song of the year for its "perfect fairytale vibe" and "loaded lyrics",[97] and Mansfield commended the soundtrack as "top-notch" and a "dark horse production value".[98]
The show has been compared to other anime in the context of its premise. Christopher Farris of ANN noted how The Executioner and Her Way of Life and May I Ask for One Final Thing? both feature the unusual setup of a heroine fighting against a person from another world; he concluded that doing so allowed them to be "winner[s] in the genre via [...] subversion".[99] In addition, Farris and Dupree favorably compared the show to Talentless Nana; Dupree opined that the "brevity" of the former's first-episode plot twist allowed it to have a "fulfilling second half", concluding that he would take "Menou over Nana any day of the week", while Farris praised the show for being able to "follow through" on its worldbuilding despite its "swerve plays".[100]
Following the conclusion of the series, Moore chose it as the best anime of the year, citing its complex characterization of all-female leads, rejection of clichés, and consistently "tense" plot.[83] Kraiser, together with three other Anime Feminist reviewers, recommended the show as one of the top three anime of 2022, explaining that it put "genuine work" into exploring sophisticated themes and was "deliciously dark".[87] Eisenbeis named the series as the best anime of Spring 2022, calling it an "engrossing" show with a "fascinating" premise and "complex" characters.[93][94] Ahmad regarded the show as the best anime of the season, citing its production value and "fantastic" progression.[89] In 2025, the Anime News Network editorial team selected the show as one of its favorite isekai titles of all time, mentioning its worldbuilding, character writing, and serious approach to mature themes.[3]
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See also
- Is It Wrong to Try to Pick Up Girls in a Dungeon?: Familia Chronicle, another light novel series illustrated by Nilitsu
Notes
- Referred to as "ether" in the animated adaptation.
- Referred to as "Chaos" in the animated adaptation.
- Mitsuya has not publicly revealed their gender.
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References
External links
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