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ISBN 978-1-59158-332-5. Cavallaro, Dani (2006). The Anime Art of Hayao Miyazaki. McFarland. ISBN 978-0-7864-2369-9. Clements, Jonathan; McCarthy, Helen (2006). The Anime Encyclopedia: A Guide to Japanese Animation Since 1917. Berkeley, Calif: Stone Bridge Press. ISBN 978-1-933330-10-5. Craig, Timothy J. (2000).

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This is clearly shown throughout the show with his intentions.
As both a character and story driven series, it will definitely takes patience and adapting to get used to the show. I actually recommend re-watching some scenes to get a better understanding of the series’ intentions at few cases. Examples such as Momonga’s lack of remorse towards death, Albedo’s distasteful view on humans, and other ideals makes the show appealing. It makes the NPCs feel real. In addition, the game mechanics such as spells, weaponry, magical items, and potion making really brings out its fantasy realm to life. There’s some good amount of action as well although fairly predictable with Momonga’s newfound skills. In addition, the story also makes it clear that he isn’t the only character that matters. Others he encounters and associates with such as the Sword of Darkness and his own battle maids get their additional spotlight too. The story also introduces antagonists with their own independent malevolent intentions. It shouldn’t take too long for viewers to realize that Overlord isn’t just Momonga’s personal show.
So what was it about? An active effort to discuss subserviency in society? The oppressive consequence that occurs when "absolute power corrupts absolutely?" A tale of personal ideals clashing, resulting in bloody politics? A sobering story of discrimination?. Well, honestly speaking, no. It was about none of that. Overthinking anything that AGK does would be no different than waxing philosophical for the reason behind Patrick Star's Hawaiian shorts.