Heavenly Delusion

Maru (マル)

Voiced by: Gen Satō[2] (Japanese); Jonathan Leon[3] (English)

A 15-year-old boy who is traveling together with Kiruko. He is skilled in martial arts.

Kiruko (キルコ)

Voiced by: Sayaka Senbongi[2] (Japanese); Anjali Kunapaneni[3] (English)

A girl who is around 18 to 20 years old who travels with Maru. Her real name is Kiriko Takehaya (竹早 桐子, Takehaya Kiriko). Prior to the events of the series, the brain of her younger brother Haruki was transplanted into her. She has been searching for the doctor who performed the operation.

Tokio (トキオ)

Voiced by: Hibiku Yamamura[2] (Japanese); Brittany Lauda[3] (English)

A young girl who lives in a facility isolated from the outside world. She has a similar appearance as Maru.

Kona (コナ)

Voiced by: Toshiyuki Toyonaga[2] (Japanese); AJ Beckles[3] (English)

Mimihime (ミミヒメ)

Voiced by: Misato Fukuen[2] (Japanese); Tia Ballard[3] (English)

Shiro (シロ)

Voiced by: Shunsuke Takeuchi[2] (Japanese); Hao Feng[3] (English)

Kuku (クク)

Voiced by: Tomoyo Kurosawa[2] (Japanese); Madeleine Morris[3] (English)

Anzu (アンズ)

Voiced by: Misato Matsuoka[2]

Taka (タカ)

Voiced by: Yūki Shin[2] (Japanese); John Choi[3] (English)

Enchō (園長)

Voiced by: Masako Isobe[4]

Sawatari (猿渡)

Voiced by: Tadashi Mutou[4]

Aoshima (青島)

Voiced by: Atsumi Tanezaki[4]

Robin Inazaki (稲崎 露敏, Inazaki Robin)

Voiced by: Kazuya Nakai[4] (Japanese); Eric Vale[3] (English)

After leaving the manga magazine Monthly Afternoon due to a writer's block, Masakazu Ishiguro started drawing Heavenly Delusion with unintentional similarities to his favorite work, Akira, such as the postapocalyptic setting and the dynamic of Maru and Kiruko. Ishiguro aims to write "evil" properly with his manga in contrast to his previous work, And Yet the Town Moves. In this case, humans who no longer feel actual people after changing the self-esteem. Putting aside the reality, Ishiguro wants to be rewarded in his manga. Heavenly Delusion is a collapsed world, so the laws and rights groups are not functioning, so Ishiguro thinks it will be more noticeable. He wants both of his works to be far different in order to gather a new audience.[5] Once coming up with sketches of young characters fitting for the shonen demography, editorial members from Afternoon instead offered Ishigiuro to write for their seinen magazine again. His experience with Afternoon led him to return to the magazine.[6]

Ishiguro thought about the manga for years. Since he enjoyed love walking, he often fantasized about a world destroyed by a catastrophe. As his thoughts evolved, Ishiguro began to write down my ideas on paper. Another reason was an anime where the main character wandered alone, like Chirico from "Soukou Kihei Votoms. He liked the idea of a hero traveling alone in combat armor through the desert. He always of doing his own take. At the initial stage, he was going to depict a world that would look even more like a desert. When the first volume came out, the company Minami Kamakura Film Commission provided a video promotion, and as it turned out, they had previously released a video with music by Kenshi Yonezu, in which there was the same idea: Miku in a jacket against the desert. He decided to change the plot, not delving into direct copying, and returned to a more diverse world setting. It was quite difficult to create a background with a large number of buildings. The concept of the academy was modeled after Yumeno Kyusaku's wandering-like novel Dogra Magra. Heavenly Delusion is similar to Dogra Magra in its structure. Although this novel can be interpreted in different ways, for Ishiguro, Heavenly Delusion is Dogra Magra. He wants people to travel with him into the world and fantasize, adding details about how they first changed clothes to not get wet when entering the water, and so on. The length of the manga was often extended due to Ishiguro finding the ending weak. In the process of working on the series, Isiguro sometimes has to completely rewrite panels or correct an incorrectly written script to turn it into the best version. He is usually busy creating manga, and constantly distributes his efforts between working on the Heavenbly Delusion series and writing two-page stories for other projects.[6]

Ishiguro was inspired to write the manga when he was a university student and read Die at the Circuit. It was a work that has not been officially released, so he think only people who were in the manga lab know about it. After And Yet the Town Moves he found it interesting to use the idea of Die at the Circuit. The story is based on the story of a race on a circuit, where the Earth is destroyed in the middle of the race, and the main character is about to die. The cover of the first volumes of uses illustrations from the March 2018 issue of Monthly Afternoon believing he could not draw something superior. For the title, he wanted to give it a bluff like. Since character "heaven" will appear, he uses "heaven", but he also wanted to use "dai" in the middle and then added "hell". The artwork became more detailed, most notably Kiruko's facial expression.[7]

The sibling-like dynamic inspired the duo of Maru and Miruko was based on Ishiguro's personal life, as during his childhood, he noticed a person was interested in his sister. Another aspect of the protagonists' dynamic was inspired by buddy films. Maru's design was inspired by Kon Senpai. JoJo's Bizarre Adventure's eighth part, JoJolion, was another influence to the work.[7] In the beginning, Maru has feelings for Kiruko without knowing that his bodyguard is a man inside a girl's body. Ishiguro called this premise as "transsexual sci-fi", alluding to the possibility of Maru still loving Kiruko despite knowing the truth.[8]

In contrast to And Yet the Town Moves, Heavenly Delusion employs a darker tone, most specifically the delusions children have. One of the children, Tokio, lives in a mysterious facility. She likes fantasy paintings drawn by her friend Kona and collects them. Kona can imagine things that have never been seen before. It overlaps with Ishiguro's statement that he is drawing delusions. At the end of the first volume, the necessary cards have been laid out face down, so Ishiguro feels like he is going to keep flipping them from now on. In order to be careful with the mystery theme, he put few foreshadowings.[9]

When he started writing his series, Ishiguro felt a certain discomfort about what was happening in Japan. It seemed to be around 2017-2018 when Japan was looking for flaws in its governance in the run-up to the 2020 Summer Olympics. He experienced déjà vu because of the scandal with the empty New Year's food. At that time, people pointed out that the packaging did not match the reality. Also, there were earthquakes and tsunamis that stripped people of all their habits. He sensed an ominous similarity between that time and present. This was a critical moment in world history. He started drawing manga to convey the sense of threat that society increasingly feels. The credo of his manga is to be cautious, or else they may encounter something truly terrible. As he expected, new diseases have crept into our world — Covid-19 and the flu — making the world darker and more dangerous than ever before. And although he wanted people to read Heavenly Delusion when their world was peaceful, calm, and safe. The character of Totori was also written to prove that people who could easily be seen as villains be important to others, making her sad knowing of the gang leader's death.[6]

Ishiguro does not remember exactly when the idea came to that the Kiruko's body contains the brain of her younger brother, but it was a series of sound considerations from which he understood that this is the story he wanted to tell. He have always been inspired by stories of brothers and sisters, so he wanted to create his own story about a brother and sister swapping places, where the brother takes care of the sister. He rejected coincidences related to magic and wanted to create a more realistic and accurate world to show what happens during a brain transplant. He was against the idea of a man turning into a woman and lead to perverted jokes about cleavage and lacking a penis. Instead, with Kiruko, he wanted the scenario to be more realistic. Another theme involves how relationships would change if somebody's gender changed. He often writes metaphorical situations with Kiruko's menstrual cycle being caused by clashing with Maru's lips when awakening from an hallucination from a Hiruko's attack.[6]

Director Hirotaka Mori was worried about whether or not he would be able to handle it. However, he had known the animation producer Masashi Ohira for a long time since he started directing, who motivated him to work on it. He felt like he was going to have a good time. As much as the expectations have been raised, Mori felt stronger that he had to make a proper product, and meet everyone's expectations. He was particularly attracted by the premise of the two storylines and how it would change in the future.[10] When it comes to the influences, Mori guess it happened that Yasuhiro Yoshiura, a senior at university who is also the director of Time of Eve, came.

For Mori, the most challenging parts are the action scenes. He thinks it would look better with sound and movement, and that is why he thinks there is a significance to doing it in animation, which led to more effort on it it. Also, since manga is black and white, he was conscious of adding color to the world in which they live, such as the landscape of ruins and the school, to make it look more attractive. As for Maru, he thinks he is very pure and does not know anything yet. Mori finds him attractive for how he does not strangely rubbed and it is bright. The director got the impression that Maru meets Kiruko from a place where he does not know his own past, and gradually gains an ego. On the other hand, Kiruko is in a complicated situation with Kirko, and has a past that is too heavy for her to handle alone. As a result, he enjoys the two and thinks it is a mutually complementary relationship.[10] Tokio is seen as a pure adolescent-like character. She has a different kind of purity than Maru, and he gets the impression that Maru has managed to maintain his innocence even though he has been through a lot of hardships, but Tokio has lived without being exposed to external pressure. Mori think he is a character that symbolizes the interest and disgust of various things that are born in adolescence.[10]

Mori believes that the original work already contains the message that Ishiguro wants to convey, so the production side does not add anything else as a plus, but this work really has many elements, such as disasters, technology, and so on. He also thinks it would be nice if the viewers could choose what to pick up among the scattered elements and how to enjoy it, and feels that it is a work that has the bosom to be able to do that. increase. That is why Mori think it is his responsibility in making anime to properly convey that in a way that does not distort it too much. The hints are drawn from the first episode, so Mori is glad if the audience could see it from various perspectives, such as being curious about the mystery or liking the world view of Maru and Kiruko traveling through the ruins. As a production side, the production of the first episode was the most difficult. It is an introductory part, so the animators wanted the audience to like the world view and characters, look forward to the future.[10]

Gen Satō, Maru's Japanese voice actor, found that while Maru expresses several emotions, not much about him is known so it got difficult for him to voice the character,[11] while Hibiku Yamamura, Tokio's Japanese voice actress, regards her as a delicate character, which made her hard to properly approach.[11] Regarding the anime adaptation, the director and production side had to think about the overall structure, so Ishiguro had to tell them the story to the end. Because of this, he asked the editorial department to appoint a separate editor, specifically for the anime. The first season is meant to adapt the first six volumes of the manga.[6]

Heavenly Delusion is written and illustrated by Masakazu Ishiguro. It has been serialized in Kodansha's seinen manga magazine Monthly Afternoon since January 25, 2018.[12] Kodansha has collected its chapters into individual tankōbon volumes. The first volume was released on July 23, 2018;[13] a promotional video, directed by Tasuku Watanabe, for the first volume was released on the same date.[14] As of November 22, 2022, eight volumes have been released.[15]

In North America, the series is licensed in English by Denpa.[16] The first volume was released on December 31, 2019.[1]

An anime television series adaptation produced by Production I.G was announced on October 18, 2022.[28][29] The series is directed by Hirotaka Mori, with scripts written by Makoto Fukami, character designs handled by Utsushita of Minakata Laboratory, and music composed by Kensuke Ushio.[30] It premiered on April 1, 2023, on Tokyo MX and other networks. The opening theme song is "Innocent Arrogance", performed by Bish, while the ending theme song is "Daremo Karemo Dokomo Nanimo Shiranai" (誰も彼も何処も何も知らない, "I Don't Know Anyone Anywhere Anything"), performed by Asobi.[4] Disney Platform Distribution acquired the distribution license of the anime and is streaming the series worldwide on Disney+ and in the United States on Hulu.[2] Avex Pictures will release the series on two Blu-ray box sets, each containing six episodes, on August 30 and September 27, 2023.[31]

An official guidebook was released on November 22, 2022. It includes detailed information about the series' setting, story and characters and an interview with Ishiguro.[34]

By December 2018, the manga had over 130,000 copies in circulation.[35] Heavenly Delusion ranked at the first place on Takarajimasha's Kono Manga ga Sugoi! 2019 ranking of Top 20 manga series for male readers.[36] In December 2019, Brutus magazine listed Heavenly Delusion on their "Most Dangerous Manga" list, which included works with the most "stimulating" and thought-provoking themes.[37] Heavenly Delusion was one of the Jury Recommended Works at the 24th and 25th Japan Media Arts Festival in 2021 and 2022, respectively.[38][39]

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 first volume explores the mysteries behind Kiruko, there were still too many mysteries the plot would explore in the future.[40] The French website Manga News found the premise captivating due to the mysteries it shows.[41] 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.[42] 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 their chapters. They still felt both plots offer interesting mysteries whose connections are not given away that easily.[43]

The pilot earned a positive response by Anime News Network due to the dystopian premise and amount of character while being compared with Blame! and the animation produced for both human and monster designs.[44] 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. Gender affects all of us, across the entire spectrum of identity and presentation, so thinking about gender critically and flexibly is an important thing to do." They further praised the relationship between Maru and Kiruko for how caring they are with one another and noted that the flashback's incestuous "angle might just be sensationalism for the sake of it, but I don't mind that extra splash of taboo when the full picture is this interesting."[45] Anime Feminist enjoyed the handling of the animation as well as the dynamic between the two leads with Maru looking suspiciously similar to another person featured in the parallel story. Nevertheless, they mentioned the amount of gender violence when people try to attack Maru and Kiruko.[46] With the eventual revelation that Kiruko is a young man who had his brain transplanted to his sister's body, the website was optimistic about the handling of the main duo; for Maru still coming across as likable when confessing his feelings to Kiruko and not sounding homophobic in response to the twist. They were troubled by the repercussions this twist has in regards to Kiruko's feelings, however, as her early scenes from the first episode now made her look incestuous. Meanwhile, the handling of the school students was praised because Tokio and Kona have to calmly explore same-sex relationships.[47] Comic Book Resources also noted the series gender norms due to how "complex" they found Maru and Kiruko's relationship as Maru still seems to retain his affection towards Kiruko despite knowing she is actually male while Kiruko was compared to a transexual character who is trying to accept the idea of having a female body.[48]

Before the series' release, Polygon stated that despite the absence of talented creators in the staff of the production aside the studio and the composer Kensuke Ushio, they noted that the series looks intriguing, and the animation is impressive.[49] Clarin and Meristation compared the anime to the video game The Last of Us for the post-apolcalypse setting it provides with the main duo exploring areas like its two protagonists, Ellie and Joel.[50][51] NME enjoyed the mystery and lack of exposition dumps, positively comparing the premise to The Leftovers and Station Eleven.[52] IGN praised both the animation and the dynamic of the leads as the best pars of the anime.[53] The Philippine Star praised the series for focusing on gender dysmorphia through the relationship between Maru and Kiruko without queerbaiting audiences similar to "switcheroos" like Ranma ½ and Sailor Moon.[54]

While voicing the character Kiruko, Sayaka Senbongi was excited to voice her since she knew of the manga before being cast and liked the character.[11] Ishiguro praised Senbongi's work in the fifth episode when delivering Kiruko's mental breakdown, having interfered with the script to add new lines to the anime.[55] Moreover, Ishiguro believes Production I.G made Kiruko more sexually appealing than his own take.[56] The scene where Totori tries to seduce Maru also received Ishiguro's attention as he found it more erotic than in the manga.[57]