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"Monster GN 16 – Review". Anime News Network. Archived from the original on 4 July 2020. Retrieved 28 July 2013. ^ Brienza, Casey (18 December 2008). "Monster GN 17–18 – Review".

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^ "Castlevania Blood Spills on Genesis". Electronic Games. Vol. 1, no. 12 (September 1993). August 24, 1993. p. 15. ^ "The Greatest Games of All Time". Gamespot. com. [50][51] The manga was awarded the French Daruma Award for the Best Screenplay category at the Japan Expo Awards [fr] in 2023. [52][53] Reviewing the first volume, Anime News Network praised the narrative of Heavenly Delusion for its focus on Kiruko and Maru's appealing relationship and Ishiguro's character designs. Furthermore, they felt that while the volume explores the mysteries behind Kiruko, there were still too many mysteries the plot would explore in the future. [54] The French website Manga News found the premise captivating due to the mysteries it shows. [55] Sigue en Serie also commented on the mysteries of the series, which would motivate readers to move quickly to the next volumes in order to understand more the plot through the two parallel storylines. [56] By the third volume, Manga News noted that the events from the both storylines have been connected especially from Tokio's point of view while the duo's journey was noted to be more comical than tragic in contrast as a result of how Ishiguro writes the chapters. They still felt both plots offer interesting mysteries whose connections are not given away that easily. [57] Brutus magazine listed Heavenly Delusion on their "Most Dangerous Manga" list, which included works with the most "stimulating" and thought-provoking themes. [58] Vinland Saga's author Makoto Yukimura expressed interest in the themes of Heavenly Delusion due to the idea of a heaven as well as how Ishiguro tells two stories at the same time that are connected as the narrative continues. [59] Anime[edit] The first episode earned a positive response by Anime News Network due to the dystopian premise and amount of character, while being compared to Blame!, and the animation produced for both human and monster designs. [60] They noticed that the series appears to heavily focus on the gender, not on Kiruko's "experience of trans men, but rather as means of interrogating and playing with rigid gender constructs in a more generalized sense.