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[22] Media[edit] Manga[edit] See also: List of KonoSuba volumes § Manga A manga adaptation of KonoSuba illustrated by Masahito Watari began serialization in the October 2014 issue of Fujimi Shobo's Monthly Dragon Age magazine on September 9, 2014. [23] As of November 9, 2023, eighteen tankōbon volumes have been released. [24] A manga adaptation of the KonoSuba Fantastic Days smartphone game by Kasumi Morino began serialization in Media Factory's Monthly Comic Alive magazine on March 26, 2022. [25] Yen Press announced its acquisition of the manga adaptation at the same time that it licensed the original light novels. [20] Anime[edit] See also: List of KonoSuba episodes and Isekai Quartet An anime television series adaptation produced by Studio Deen[26] aired on Tokyo MX between January 14, 2016, and March 16, 2016;[27] later broadcasting on eight other networks and several video on demand streaming networks. [27] The series was simulcast by Crunchyroll in several regions such as North America,[28] and by AnimeLab in Australia. [29] The series was directed by Takaomi Kanasaki and written by Makoto Uezu with character designs by Koichi Kikuta. [26] An original video animation (OVA) was bundled with the ninth light novel of KonoSuba in June 2016. [30] The anime's opening theme is "Fantastic Dreamer" by Machico while the ending theme is "Chīsana Bōken-sha"[Jp. 6] performed by Aqua (Sora Amamiya), Megumin (Rie Takahashi), and Darkness (Ai Kayano). [31] On January 7, 2019, Crunchyroll announced that the series would receive an English dub.

^ a b c d "Hirohiko Araki Lecture Part 2: Drawing Manga, Araki-Style". Comipress. Archived from the original on August 10, 2014. Retrieved August 3, 2014. ^ "NHK高校講座 | 芸術(美術I/書道I) | 第15回 美術(8) 漫画はやっぱりおもしろい 〜人物〜". Nhk. or. jp. Archived from the original on August 10, 2014. Retrieved August 3, 2014. ^ Clamp (2009).

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The system debuted in 1990 and could contain one, two, four, or six separate games in a single cabinet. To swap in a new game, all the operator had to do was remove one cartridge and exchange it for another. The MVS was an immediate success. It greatly shortened the setup time needed for each game, minimized floor space for cabinets, and reduced costs for new cartridges to US$500—less than half of what a traditional arcade unit cost at the time. [13] SNK wanted to bring arcade games to people's homes without making CPU and memory performance compromises that typical home consoles were forced to make. In 1990, the Neo Geo family was created. The company released a home version of the MVS, a single cartridge unit called the Neo Geo Advanced Entertainment System (Neo Geo AES). Initially, the AES was only available for rent or for use in hotel settings, but SNK quickly began selling the system through stores when customer response indicated that people were willing to spend money on home versions. Several franchises of games derived from it, including Sengoku, The King of Fighters, The Last Blade, Super Sidekicks, Art of Fighting, Metal Slug, Burning Fight, Savage Reign, Samurai Shodown, and Fatal Fury. The King of Fighters, Samurai Shodown, and Metal Slug series were continued on later consoles. SNK also helped publish third-party Neo Geo games such as ADK's World Heroes and Aggressors of Dark Kombat, Visco's Breakers and Ganryu, Noise Factory's Rage of the Dragons and Sengoku 3, Sunsoft's Galaxy Fight: Universal Warriors and Waku Waku 7, Sammy's Viewpoint, NMK's Zed Blade, Psikyo's Strikers 1945 Plus, Aiky/Taito's Pochi and Nyaa, Paon/Eleven/Gavaking's Nightmare in the Dark, Face's Money Puzzle Exchanger, Data East's Spinmaster and Street Slam, and Technōs Japan's Double Dragon and Voltage Fighter Gowcaizer. However, he also wanted to depict a student who fails at school trying to have another chance at life through this series. [5][4] The setting of the work was created by adding elements of other Naro-kei works that were already popular to the story that he had wanted to write for a long time. [4] From that time on, so-called Isekai stories were popular, and the approach was "If I were you, I would do this", such as "If I'm going to be reincarnated, I should write about my childhood properly" or "Is it possible to make use of the settings before reincarnation?" The author thought about it. [4] During his youth, Rifujin was a fan of fighting games he often played in arcades. He often had regrets of leaving his hometown and facing people stronger than him. When Rifujin took up writing Mushoku Tensei he channeled that sorrow as a driving force to overcome all the difficulties while writing and to continue the story all the way till the end. [6] He revealed that he was influenced by Lucifer and the Biscuit Hammer and Parasyte, which focused on family and human relationships. [7] Rifujin commented that he created Rudeus aware of his controversial personality. He intended Rudeus' actions would be more meaningful in the process. He had no issue criticizing Rudeus at an early stage and left it to the audience to judge him. Magonote wanted the audience to pay attention to a specific side of his character and be able to relate to him.