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Episode 11 – Welcome to Demon School, Iruma-kun Season 4

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It makes sense that the demons wouldn’t necessarily know what a friend is. Their whole society is, supposedly, based on being evil, and bad guys are kind of notorious for not having real friends or, in some cases, becoming evil because of the loss of them. (See: Poro) So even though it’s quite obvious that demons have friends, they’re probably not used to thinking of them in those terms, or any terms, really. Azz has at least a basic concept of the idea, but as you can see, his Azzpedia doesn’t have the most…current definitions. So even though it’s plain that the entire Misfit Class is made up of friends, the fact that they don’t think of themselves as such is the clearest divide between human and demon that we’ve seen in a while…and the alacrity with which they adopt Iruma’s more accurate definition and scramble to say they’re all friends demonstrates the influence Iruma has on them.

I love that give-and-take dynamic this series has. As it goes on, there’s less of a distinction between “human” and “demon” in a lot of ways, and all of the misfits are becoming a near-perfect blend of the two. Just look at the way Iruma has started painting his nails this season; it’s a small change, but one that shows his growing comfort and confidence in the netherworld. Garp and Agares’ friendship is another good example; they’ve gone from not interacting all that much to being thick as thieves, demonstrating a new, closer bond that they don’t have a name for. Forget the love that dare not speak its name – for the demons, just being friends is weird enough that they don’t have a definition for it, meaning that before this episode, they didn’t have a way to quantify their relationships. And yes, not everything needs labels. But the advent of this label shows how everyone is changing through getting to know each other, and that’s both lovely to see and thematically important, because with Kiriwo back, Iruma’s secret is in danger. The sooner the Misfit Class accepts Iruma as a friend and a person, the smoother things should go when the cat gets out of the bag.

Juxtaposing the two halves of this episode helps to highlight the dual worlds the misfits are living in. The entire friendship debacle is barely over when Lead’s crush on Elizabetta starts to make him suspicious and jealous of the other boys in class. He’s recently spent time being thrilled with the concept of “friends,” but when it comes to Elizabetta, all bets are off for him. The extended trial scene where he convicts his pals of spending more time with the object of his affections during the musical is very Lead, blaming other people for purported crimes as a way to mask his personal discomfort. He’s basically turning the whole thing into a game and getting all of the boys to join in, which makes his decision to charge Purson with crimes particularly serious. It shows that Lead considers Purson to be a member of the group just like anyone else in class, and Purson plays along beautifully. He’s got a bit of a sly sense of humor, that one, as we see both when he’s defending (or maybe “defending”) himself and when Lead realizes that he’s lurking and he tries to deny it.

This is also the most we’ve seen of Dosanko in a while. She’s not a character who works with too much screentime because she’s kind of one-note, but it’s always fun to have her put in an appearance with her amazing self-confidence and stories of lost loves. Ameri’s also been MIA for much of this season, although that makes sense, given that she’s not a first-year. But it looks like next week is going to be her moment, so just be patient a little longer: the real queen’s return is foretold in the episode preview.

Rating:




Welcome to Demon School, Iruma-kun is currently streaming on
Crunchyroll.


The views and opinions expressed in this article are solely those of the author(s) and do not necessarily represent the views of Anime News Network, its employees, owners, or sponsors.

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The Exiled Heavy Knight Knows How to Game the System Anime’s New VIdeo Unveils ReoNa’s Ending Song – News

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The staff for the television anime of Brocco Lee‘s manga adaptation of Nekoko‘s The Exiled Heavy Knight Knows How to Game the System (Tsuihō Sareta Tensei Jū Kishi wa Game Chishiki de Musō Suru) light novel series announced in its second full promotional video on Tuesday that ReoNa is performing the ending theme song “Lv. 1 Shokugyō: Ningen” (Level 1 Occupation: Human).


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Image via The Exiled Heavy Knight Knows How to Game the System anime’s website

Kodansha is releasing the manga in English through its K MANGA service, and it describes the story:

“You good-for-nothing bastard. You are the son of a Sword Saint, yet you dare pull such a defective Class!?”

During the Divine Blessing Ceremony of the 15-year-old Elma who came from a lineage of Sword Saints, he had manifested a commonly deemed defective class known as the Heavy Knight. He had been deprived of his position as the next head of the Edvan Household and was then exiled. The Heavy Knight class had an unbalanced status and useless skills, to top it off, it was even said to be a class cowardly and indolent people have.

But, Elma knew better—that this world was the world of the game he had used to play before—and that the Heavy Knight class was the strongest class to exist. Elma made full use of the knowledge he had in his previous life and began his efficient walkthrough of the world he was reincarnated into.

The anime stars:

Shingo Suzuki is the general director, and Katsumasa Yokomine (The Masterful Cat Is Depressed Again Today, Momentary Lily) is directing the anime at GoHands. Takayuki Uchida (The Girl I Like Forgot Her Glasses, The Masterful Cat Is Depressed Again Today, W’z) is designing the characters, and also serving as one of the chief animation directors along with Keiji Tani (Momentary Lily) and Makoto Furuta (Momentary Lily). Tetsuichi Yamagishi (Cowboy Bebop: The Movie key animation) is the chief director, Hiroshi Ōkubo (K, The Girl I Like Forgot Her Glasses) is the main animator, Glovision is in charge of sound production, Enji Nakajima and Tetsuya Gunji are the sound directors, and Ludvig Forssell (BELLE film) is composing the music.

SPYAIR will perform the opening theme song “Awake” for the first cours.

The anime will air for two consecutive cours (quarter of a year) on TBS and MBS‘s Super Animeism TURBO programming block and it will premiere on July 2 at 24:26 JST (effectively, July 3 at 12:26 a.m.)

Nekoko began serializing the story on the Shōsetsuka ni Narō (Let’s Become Novelists) website in April 2021. Kodansha published the first print volume with illustrations by Jaian in June 2022, and the fourth volume shipped on December 26. Brocco Lee launched the manga adaptation in Kodansha‘s Yanmaga website in February 2022. The manga moved from Kodansha‘s Yanmaga website to Kodansha‘s Young Magazine in September 2024. The manga’s 17th volume shipped on April 6.

Seven Seas Entertainment also publishes Nekoko‘s Reincarnated as a Dragon Hatchling and Disciple of the Lich light novel series in English, and also publishes RIO’s manga adaptation of the Reincarnated as a Dragon Hatchling novels.

Sources: SHOCHIKU anime‘s YouTube channel, Comic Natalie

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Sword Art Online’s Echoes of Aincrad Game’s Trailer Previews Demo – News

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Bandai Namco Entertainment America began streaming a demo trailer for Echoes of Aincrad, the new action RPG based on Reki Kawahara‘s Sword Art Online franchise, on Monday. The demo launches on Monday, and it includes five missions and the different weapon types.


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Image via Echoes of Aincrad website

The game is set in the world of Aincrad, the setting of the original story’s eponymous in-story virtual MMO Sword Art Online. In Echoes of Aincrad, players explore Aincrad as one of the 10,000 players trapped in the MMO-turned-death game, and explore the world alongside other characters, including Kirito and Asuna.

Aimer performs the theme song “Live to Survive.”

The game will launch in Japan on PlayStation 5 and Xbox Series X|S on July 9, and on PC via Steam on July 10. In the West, it will launch on all these platforms on July 10.

The game will have a Standard Edition, Deluxe Edition, Ultimate Edition, and Aincrad Edition release. The Deluxe Edition includes the expansion DLC and a starter item pack, as well as early access to the game’s “Death Game” mode (a mode where the game deletes your save on character death, and is normally available only after beating the game for the first time). The Ultimate Edition includes the Deluxe Edition content, and adds the “Unanswered//butterfly” bonus content app/special anime, digital soundtrack, digital artbook, and an in-game armor pack. The Aincrad Edition is exclusive to the Bandai Namco Store, and includes the Deluxe and Ultimate Edition content, adding a beanie, wall scroll, patches, and sticker pack.

The bundled “Unanswered//butterfly” bonus special promotional anime is included with the Ultimate and Premium Editions of the game and follows other characters during the events of the original Sword Art Online story.

Reki Kawahara began the Sword Art Online web novel in 2001, and serialized it from 2002 to 2008 on his website. Kadokawa‘s Dengeki Bunko label began publishing a newly edited print version in 2009, ending the original story with the “Alicization” arc as Kawahara had wrote it in his website with the 18th volume in 2016. The novel series returned with an all-new “Moon Cradle” story arc in 2017, and another all-new “Unital Ring” story arc in 2018, and is now in its 29th overall volume. The series has inspired novel and manga spinoffs, a television anime adaptation with several seasons, an anime film, and proposed live-action series. Kawahara’s Sword Art Online: Progressive spinoff novel series inspired two anime films of its own.

Sources: Email correspondence, Bandai Namco Entertainment America‘s YouTube channel


Disclosure: Bandai Namco Filmworks Inc., a wholly owned subsidiary of Bandai Namco Holdings Inc., is a non-controlling, minority shareholder in Anime News Network Inc.

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‘Harlequin Original’ Magazine Ends Publication – News

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Magazine originally launched as Monthly HQ Comic in 2008



The Japanese arm of the Canadian romance publisher Harlequin Enterprises announced on X (formerly Twitter) on Monday that its monthly Harlequin Original magazine has ended its publication with this year’s July issue, which shipped on June 11. The company will continue to publish titles under the Harlequin Comic label in print and digital.

The company has been publishing the magazine since January 2008 as its first monthly publication, when it first launched under the title Monthly HQ Comic. The magazine has published titles such as the Shakunetsu no Ō to Utsukushiki Tōbōsha manga adaptation of Abby Green’s A Christmas Bride for the King novel.

Harlequin has launched multiple other manga magazines — such as Monthly Harlequin (later just Harlequin), Bessatsu Harlequin, Zōkan Harlequin, Harlequin darling!, and the Harlequin Comics Magazine app for iOS devices — since 2008.

Digital reading platform Comixology added Harlequin Romance manga titles to its Comixology Unlimited subscription service in 2017.

Harlequin Enterprises’ Japanese branch, Harlequin K. K., has been publishing manga adaptations of Harlequin stories since 1998 in a partnership with Ohzora Publishing. SoftBank Creative took over digital distribution in 2008. 

Dark Horse Comics began releasing some of the manga in print in English in 2005, though Harlequin took over distribution the following year. Harlequin and SoftBank Creative have distributed Harlequin’s manga titles digitally in English on several platforms, including Amazon and Digital Manga Publishing‘s emanga.com website.

Source: Harlequin’s X/Twitter account


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