Let’s start with the content warning: If you are chronically ill and/or disabled, you may find these novels way too real, despite the magic and silliness. Depictions of chronic illness and the emotional and physical toll it takes on a psyche are very, very realistic. When I read volume 1, I found myself in a bathroom on a plane, sobbing hysterically, trying to be quiet as my heart poured out of my eyes. Then it happened again, several volumes later. And again, although I finally learned not to read one of these novels while traveling.

Additionally, there is significant bullying of both the physical and emotional kind, especially in early volumes. As the series continues, so does the violence, and some brutal punishments for crimes real and assumed. This series covers some serious shit.

On the positive side, we have everything else.

Straight away, one of the things that caught me was the writing. Translated by Tara Quinn and edited by Jade Gardner, the writing is genuinely outstanding. I’d go as far as to say that the writing here is superior to that found in The Apothecary Diaries—if you enjoy that series, I expect you will also enjoy this one.

The second strong point of this series is the characters. In many a “character-driven” series, one or two characters drive the entire plot. Here, we meet several strong, unique characters, each of whom has their own story— stories that will be delved into as the series goes on. Once the initial conflicts are addressed, deeper, more personal issues will be surfaced. The result is that, while the Maiden’s personalities do not change, their relationships most certainly do, in clever, interesting…and dare I say it…fun ways.

What you will find in the anime is the beginning of a long, complicated, and incredibly well-thought-out fantasy plot that will, at times, seem incredibly petty and small, and other times, almost too huge to make sense. No matter how complicated, the story will always, always come back to the apparently bizarre, ultimately delightful, intimate relationship between Shu Keigetsu and Kou Reirin.

There are many scenes in the opening salvo of this series that will benefit from animation. And many which don’t need to be, but will be super fun or wacky on screen. But the lynchpin relationship is so strong that, in text or anime, it chews up the scenery and leaves one with a mind full of memories. Keigetsu’s horror as she discovers the cost of what she’s done and Reirin’s joy at her new freedom are just the beginning of a complex tale woven with all five of the Maidens and the legacies of their clans. Both the male and female characters here are built out deeply. Prince Gyoumei, the Captain of his Guard, Shin-u, and the other male characters are clever and fun in their own right and enhance the story. No boring tsundere princes here. Some scenes hinge on their abilities to go along with Reirin’s genuinely brilliant schemes.

This series is very much about generational trauma right through to the most recent volume, which involves the Emperor and his personal history. Everyone we meet will carry the weight of their role, their birth, the circumstances created by previous generations, and the fallout of their choices. Every book peels back a new layer of this onion, revealing a new puzzle to be solved about old crimes. Retribution and revenge are not swift at all, but take careful consideration and setup. Narrative arcs last two volumes or more, so the pieces can be put carefully into place without rushing.

And yet, despite the careful laying of pieces on the board, the traps set and sprung and the completely ridiculous “coincidences” that save the day over and over, everything here moves along briskly. In ten volumes, I have only once thought the speaker could get on with it.

Art by Kana Yuki is, for once, quite good. As is so common with light novels, the illustrations are mostly portraiture and reaction shots, but at least they actually reflect the scenes they illustrate. This is a pain point with me. Far too often, light novel illustrations barely reflect the scene and are merely a pretty drawing of a character out of context.

There are definitely some laugh-out-loud moments and some horrific scenes. And in between those are glorious sparkling moments where the Maidens rally around Reirin and Keigestu to create something beautiful.

4K re-release to screen “never-before-seen chapter” that will screen after credits

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The official website for the television anime adaptation of Kureha‘s Oni no Hanayome (The Ogre’s Bride) novel announced additional cast on Sunday. The anime series premiered on July 5 at 12:30 a.m. on Tokyo MX, BS11, Gunma TV, and Tochigi TV, followed by CBC TV, Yomiuri TV, and other stations.

Voice actors Akira Ishida (Otome Game Sekai wa Mob ni Kibishii Sekai desu) and Misato Fukuen (Boku no Hero Academia) are joining the cast as Senya Kiryuuin and Sara Kiryuuin, respectively.

Kazuhito Oomiya (Chou Shounen Tanteidan Neo) is directing the anime at Colored Pencil Animation Japan, with Yumi Kamakura (Working!!! director) handling the series composition. Hikari Tanaka (Obey Me!) is in charge of the main character design, while Hiroko Shigekuni (Fruits Basket: Prelude chief animation director) serves as character designer. Masaru Yokoyama (Tomo-chan wa Onnanoko!) is composing the music.

Kureha originally began penning the fantasy romance novel on the Novema! website in 2019. Starts Shuppan began publishing the novel under its Starts Shuppan Bunko imprint with illustrations by Yuu Shiratani in October 2020 and released the ninth volume in May 2024.

Jun Togashi began drawing a manga adaptation on the Star Shuppan’s noicomi web magazine in December 2021. Star Shuppan published the tenth volume on July 10.

NTT Solmare began publishing the manga in English on its Manga Plaza platform in March 2025.

Source: Ota☆Suke

News submitted by Safuan12616