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無職転生: 異世界行ったら本気だす [Mushoku Tensei: Isekai Ittara Honki Dasu] #17
เกิดชาตินี้พี่ต้องเทพ เล่ม 17
"หลังจากไปดันเจี้ยนหอสมุดผ่านมาหลายสัปดาห์ รูเดียสร่วมเดินทางกับอาเรียลไปยังอาณาจักรอัสรา เพื่อทำตามคำสั่งช่วยให้อาเรียลได้เป็นราชินีลุล่วง พวกเขาเตรียมการในพระราชวังที่เมืองหลวงอัสรา เตรียมตัวทำศึกตัดสิน ก้าวข้ามอุปสรรคมากมาย วันที่ปาร์ตี้มาเยือน อาเรียลไล่ต้อนเจ้าชายลำดับที่หนึ่งที่เป็นกองกำลังศัตรูได้อย่างราบรื่น แต่อีกฝ่ายเองก็มีไพ่ตายซ่อนอยู่ จึงเข้าตาจน...!?
""แย่ละสิ ทำอย่างไร ต้องทำอย่างไร ขยับไม่ได้""
รูเดียสจะช่วยให้อาเรียลขึ้นนั่งบัลลังก์ได้หรือไม่!?
เรื่องราวแฟนตาซีแนวกลับชาติมาเกิดใหม่ มาถึงเล่มที่ 17 แล้ว!"
""แย่ละสิ ทำอย่างไร ต้องทำอย่างไร ขยับไม่ได้""
รูเดียสจะช่วยให้อาเรียลขึ้นนั่งบัลลังก์ได้หรือไม่!?
เรื่องราวแฟนตาซีแนวกลับชาติมาเกิดใหม่ มาถึงเล่มที่ 17 แล้ว!"
312 pages, Paperback
First published January 25, 2018
143 people are currently reading
405 people want to read
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Displaying 1 - 30 of 33 reviews
March 15, 2021
I seem to have developed a love-hate relationship with this series
Without a doubt, it is the progenitor of all the trash isekai light novels that came after
Whatever problems this series has were then magnified by writers who had similar tastes but lacked the abilities to develop engaging stories
So yes, I despise the echi, I get frustrated with the writing and I constantly am left with the feeling that the story has potential but it’s bogged down by lack of polish and the author’s... tastes.
Despite all that
I just keep coming back to it. Because somehow or another I have now finished 17 novels so far encompassing 19 years of Rudeus’s life
In any case
All I’ll say is that whenever the author decides to build up to something, he always manages to give a payoff to at least some satisfaction
The action scenes are always a thrill to read. Fast paced and action packed
I’m sad that Sylphy has now been relegated to a side character but let’s see where it all goes
All in all
It was fine
Without a doubt, it is the progenitor of all the trash isekai light novels that came after
Whatever problems this series has were then magnified by writers who had similar tastes but lacked the abilities to develop engaging stories
So yes, I despise the echi, I get frustrated with the writing and I constantly am left with the feeling that the story has potential but it’s bogged down by lack of polish and the author’s... tastes.
Despite all that
I just keep coming back to it. Because somehow or another I have now finished 17 novels so far encompassing 19 years of Rudeus’s life
In any case
All I’ll say is that whenever the author decides to build up to something, he always manages to give a payoff to at least some satisfaction
The action scenes are always a thrill to read. Fast paced and action packed
I’m sad that Sylphy has now been relegated to a side character but let’s see where it all goes
All in all
It was fine
November 8, 2024
This story keeps getting good. We have a coup on this one, and it was nicely orchestrated. I think there's a lot of things we learn about Ariel as a political figure, but we also learn a lot aboit the Man-God motivations and how he intervenes in events. Orsted revelations are still quite shocking and I keep wondering if we'll ever stop learning mew things about him.
This felt like a well rounded book.
This felt like a well rounded book.
January 24, 2025
Subarashi. Book 17 and the story STILL improves after each new development. While I may be biased as this has much more of the Sword Gods on the same stage this is one of my favorite books of the series.
September 4, 2024
The story of *Mushoku Tensei* Volume 17 picks up right where the previous volume left off, focusing on the journey to Ars, the capital of the Kingdom of Asura, and Ariel’s rise to power through a series of political maneuvers and violent confrontations. What struck me most about this volume is how brilliantly Rifujin captures the essence of medieval European aristocracy. Modern research increasingly emphasizes the importance of rituals during this period, which likely held more significance than at any other point in European history. Public appearances between nobles were meticulously choreographed, down to the smallest detail, including penance rituals where someone humbly submitted to a ruler, who then pardoned them as a noble gesture—each gesture sending subtle signals to others. These events were almost never genuine expressions of emotion but rather elaborate performances for a noble audience. This volume captures that foreign world beautifully.
From Ariel’s ceremonial entrance into the city, where she presents herself in the presence of notable figures like Luke, to the gathering she hosts to publicly accuse Minister Darius of his crimes against Tristina, it’s clear that the public staging of these acts was more critical than having them formally addressed in court. Then there’s Perugius’ grand entrance, during which he assigns Ariel her place, effectively proclaiming her the new queen through this ritual. The choice of seating and the accompanying gestures were crucial within noble and royal houses. Finally, we see Pilemon’s act of submission to Ariel, who pardons him—though Ariel’s handling of this ritual felt somewhat unusual. Nevertheless, the narrative effectively demonstrates how Ariel skillfully navigates these noble customs and gestures to her advantage, ultimately securing her victory in the struggle for the throne. While supporting characters played significant roles, it was Ariel’s own skills and decisions that secured her triumph—a crucial point, especially considering how much of the previous volume focused on Rudeus and Orsted helping her from the shadows rather than her taking proactive action.
This depiction of aristocratic life also serves to highlight the stark contrast with Rudeus, showing why he isn’t suited for this world. For the first time, he’s directly involved in a murder, witnessing it up close—and it clearly shakes him. Meanwhile, Ariel remains completely composed throughout the entire climax—during her accusations against Darius, during the attack and execution order of Reida (even when she appeared to be in a hopeless situation), during Lord Pilemon’s plea for mercy, and even when Luke holds a sword to her throat. Whether she suffered internally during these moments is left to the imagination, as the story never shifts to her internal perspective; we only see her through the eyes of Luke and Rudeus. Ariel is able to suppress her emotions because she understands that such acts of murder and deadly intrigue are part of noble life, and she has consciously chosen this path. Rudeus, on the other hand, cannot accept this norm of mutual killing, and it becomes clear that there’s no place for him in the world of nobles. This contrast is further emphasized by characters like Eris and Ghislaine, who have spent much of their lives in noble courts and have fewer qualms about killing. However, due to her connection with Rudeus, Eris shows more restraint—she doesn’t kill Darius herself but leaves it to Ghislaine and ultimately prevents her from continuing her vengeance against Pilemon. Symbolically, their paths diverge at the end: Ghislaine remains at the noble court, where she feels more at home, while Eris returns home with Rudeus. These elements give the story a sense of both internal and external departure: the characters start together in Ranoa, venture into the world of nobles, and by the end, those who identify with this life stay behind, while those who prefer Rudeus’ simpler, more familial life return with him. This is why Sylphie leaves Luke and Ariel, and Eris leaves Ghislaine—both moments are deeply fulfilling narratively because they mark the separation of characters who have been together almost continuously since volumes 5 and 6, highlighting the weight of their long history.
Speaking of perspectives, there was one aspect of the narrative that I didn’t like, mainly how some of the events were conveyed. The series usually maintains an internal focus, most often from Rudeus’ point of view, and occasionally from other characters. However, the events and especially the dialogues are often described as if by an omniscient narrator. In this volume, there were several instances where moments that should have been narratively significant were instead described retrospectively. For example, when Luke confesses to Ariel that he’s been influenced by the Man God, resolving a long-standing narrative mystery, we don’t get to experience this moment directly—instead, it’s relayed in a few descriptive lines by Rudeus, recounting what Ariel told him. The same issue arises with Pilemon: Luke suffers greatly from the uncertainty about whether his father betrayed Ariel, and this uncertainty is kept lingering for the time-being, but once again, it’s resolved descriptively, without letting us experience the revelation. I can’t recall any previous instances in the series where this happened. Usually, events are described in hindsight when summarizing a longer period, while all significant revelations are vividly portrayed. The fact that this happened repeatedly in this volume was strange, to say the least.
Another moment that initially seemed problematic but ultimately worked well was Luke’s betrayal of Ariel, where the importance of perspectives is once again highlighted. Initially, we only have Rudeus’ external perspective—he enters the room, sees Luke threatening the princess he swore to protect, and hears him tell his best friend to kill her husband. At first, I thought this would be an overly dramatic moment where Luke’s previously established character is thrown out the window, but seeing things from Luke’s perspective later on offered a different view. The helplessness he felt as he was supposed to watch his father’s execution and a brief, irrational moment where he could no longer suppress his human emotions and lashed out—combined with the fact that his command to Sylphie was more of a question than an order—made the situation more understandable. The resolution of this conflict, where Ariel’s simple reminder of their shared past convinces Luke to back down, and she then provides him with a public excuse, choosing not to condemn or execute him but instead to forgive him, was deeply moving. This was the first time Ariel broke away from the aristocratic rationality that had defined her throughout the novel and reacted in a more human way, much like how Rudeus tends to act—against all noble logic, she forgives Luke and, in doing so, forgives his father as well. While the scene may have seemed odd externally, it was incredibly significant internally because it reminded Ariel of what she must embody as a ruler: the humanity she learned during her journey to Ranoa with her friends and allies.
Another interesting aspect was how Rudeus’ game of deception continued to evolve. As I mentioned in my review of the previous volume, Rudeus is now openly deceiving his friends and family to execute Orsted’s plan without revealing too much to the Man God. Here, the game of deception becomes a game of counter-deception, as the Man God’s words to Luke fuel his mistrust of Rudeus’ actions, ultimately triggering the volume’s biggest conflict. This dynamic becomes even more intriguing as Orsted takes a more proactive role in this game, participating directly but, unlike Rudeus, being more open with information and even deceiving Rudeus about his abilities. As a result, Rudeus, like Luke, realizes that Orsted is hiding something, although, unlike Luke, he doesn’t seek a direct confrontation. The revelation that Orsted is trapped in a time loop was a fascinating but entirely plausible twist, raising several questions, especially because his time travel differs from Rudeus’. Orsted is literally stuck in a cycle; when he returns, he can’t interact with his past self, and the world resets as if he’s loading an old save file. Rudeus, on the other hand, was able to interact with his past self and significantly alter the future—while the world recognized that he had time-traveled, at least the Man God and the Demon God in the library did, whereas this isn’t the case with Orsted. This must also be the first timeline in which Rudeus exists, as evidenced by Orsted’s assumption in Volume 6 that Paul had only two daughters, meaning he wasn’t yet part of the loop—even though he’s crucial to the Man God’s defeat. My biggest question as of now is why the Man God feared Orsted and felt the need to send his apostles against him in previous loops if Orsted posed no threat. Additionally, I wonder what role Nanahoshi plays in all of this. She apparently came into the world during the Displacement Incident, which was also when the Man God first appeared to Rudeus—and as we learned in Volume 6, Nanahoshi is the sole reason Rudeus was able to survive and produce offsprings. I have a feeling that all these elements are connected somehow, and I’m eager to see where the story will take them.
From Ariel’s ceremonial entrance into the city, where she presents herself in the presence of notable figures like Luke, to the gathering she hosts to publicly accuse Minister Darius of his crimes against Tristina, it’s clear that the public staging of these acts was more critical than having them formally addressed in court. Then there’s Perugius’ grand entrance, during which he assigns Ariel her place, effectively proclaiming her the new queen through this ritual. The choice of seating and the accompanying gestures were crucial within noble and royal houses. Finally, we see Pilemon’s act of submission to Ariel, who pardons him—though Ariel’s handling of this ritual felt somewhat unusual. Nevertheless, the narrative effectively demonstrates how Ariel skillfully navigates these noble customs and gestures to her advantage, ultimately securing her victory in the struggle for the throne. While supporting characters played significant roles, it was Ariel’s own skills and decisions that secured her triumph—a crucial point, especially considering how much of the previous volume focused on Rudeus and Orsted helping her from the shadows rather than her taking proactive action.
This depiction of aristocratic life also serves to highlight the stark contrast with Rudeus, showing why he isn’t suited for this world. For the first time, he’s directly involved in a murder, witnessing it up close—and it clearly shakes him. Meanwhile, Ariel remains completely composed throughout the entire climax—during her accusations against Darius, during the attack and execution order of Reida (even when she appeared to be in a hopeless situation), during Lord Pilemon’s plea for mercy, and even when Luke holds a sword to her throat. Whether she suffered internally during these moments is left to the imagination, as the story never shifts to her internal perspective; we only see her through the eyes of Luke and Rudeus. Ariel is able to suppress her emotions because she understands that such acts of murder and deadly intrigue are part of noble life, and she has consciously chosen this path. Rudeus, on the other hand, cannot accept this norm of mutual killing, and it becomes clear that there’s no place for him in the world of nobles. This contrast is further emphasized by characters like Eris and Ghislaine, who have spent much of their lives in noble courts and have fewer qualms about killing. However, due to her connection with Rudeus, Eris shows more restraint—she doesn’t kill Darius herself but leaves it to Ghislaine and ultimately prevents her from continuing her vengeance against Pilemon. Symbolically, their paths diverge at the end: Ghislaine remains at the noble court, where she feels more at home, while Eris returns home with Rudeus. These elements give the story a sense of both internal and external departure: the characters start together in Ranoa, venture into the world of nobles, and by the end, those who identify with this life stay behind, while those who prefer Rudeus’ simpler, more familial life return with him. This is why Sylphie leaves Luke and Ariel, and Eris leaves Ghislaine—both moments are deeply fulfilling narratively because they mark the separation of characters who have been together almost continuously since volumes 5 and 6, highlighting the weight of their long history.
Speaking of perspectives, there was one aspect of the narrative that I didn’t like, mainly how some of the events were conveyed. The series usually maintains an internal focus, most often from Rudeus’ point of view, and occasionally from other characters. However, the events and especially the dialogues are often described as if by an omniscient narrator. In this volume, there were several instances where moments that should have been narratively significant were instead described retrospectively. For example, when Luke confesses to Ariel that he’s been influenced by the Man God, resolving a long-standing narrative mystery, we don’t get to experience this moment directly—instead, it’s relayed in a few descriptive lines by Rudeus, recounting what Ariel told him. The same issue arises with Pilemon: Luke suffers greatly from the uncertainty about whether his father betrayed Ariel, and this uncertainty is kept lingering for the time-being, but once again, it’s resolved descriptively, without letting us experience the revelation. I can’t recall any previous instances in the series where this happened. Usually, events are described in hindsight when summarizing a longer period, while all significant revelations are vividly portrayed. The fact that this happened repeatedly in this volume was strange, to say the least.
Another moment that initially seemed problematic but ultimately worked well was Luke’s betrayal of Ariel, where the importance of perspectives is once again highlighted. Initially, we only have Rudeus’ external perspective—he enters the room, sees Luke threatening the princess he swore to protect, and hears him tell his best friend to kill her husband. At first, I thought this would be an overly dramatic moment where Luke’s previously established character is thrown out the window, but seeing things from Luke’s perspective later on offered a different view. The helplessness he felt as he was supposed to watch his father’s execution and a brief, irrational moment where he could no longer suppress his human emotions and lashed out—combined with the fact that his command to Sylphie was more of a question than an order—made the situation more understandable. The resolution of this conflict, where Ariel’s simple reminder of their shared past convinces Luke to back down, and she then provides him with a public excuse, choosing not to condemn or execute him but instead to forgive him, was deeply moving. This was the first time Ariel broke away from the aristocratic rationality that had defined her throughout the novel and reacted in a more human way, much like how Rudeus tends to act—against all noble logic, she forgives Luke and, in doing so, forgives his father as well. While the scene may have seemed odd externally, it was incredibly significant internally because it reminded Ariel of what she must embody as a ruler: the humanity she learned during her journey to Ranoa with her friends and allies.
Another interesting aspect was how Rudeus’ game of deception continued to evolve. As I mentioned in my review of the previous volume, Rudeus is now openly deceiving his friends and family to execute Orsted’s plan without revealing too much to the Man God. Here, the game of deception becomes a game of counter-deception, as the Man God’s words to Luke fuel his mistrust of Rudeus’ actions, ultimately triggering the volume’s biggest conflict. This dynamic becomes even more intriguing as Orsted takes a more proactive role in this game, participating directly but, unlike Rudeus, being more open with information and even deceiving Rudeus about his abilities. As a result, Rudeus, like Luke, realizes that Orsted is hiding something, although, unlike Luke, he doesn’t seek a direct confrontation. The revelation that Orsted is trapped in a time loop was a fascinating but entirely plausible twist, raising several questions, especially because his time travel differs from Rudeus’. Orsted is literally stuck in a cycle; when he returns, he can’t interact with his past self, and the world resets as if he’s loading an old save file. Rudeus, on the other hand, was able to interact with his past self and significantly alter the future—while the world recognized that he had time-traveled, at least the Man God and the Demon God in the library did, whereas this isn’t the case with Orsted. This must also be the first timeline in which Rudeus exists, as evidenced by Orsted’s assumption in Volume 6 that Paul had only two daughters, meaning he wasn’t yet part of the loop—even though he’s crucial to the Man God’s defeat. My biggest question as of now is why the Man God feared Orsted and felt the need to send his apostles against him in previous loops if Orsted posed no threat. Additionally, I wonder what role Nanahoshi plays in all of this. She apparently came into the world during the Displacement Incident, which was also when the Man God first appeared to Rudeus—and as we learned in Volume 6, Nanahoshi is the sole reason Rudeus was able to survive and produce offsprings. I have a feeling that all these elements are connected somehow, and I’m eager to see where the story will take them.
This entire review has been hidden because of spoilers.
January 21, 2022
政爭篇(?)終於告一段落了, 過程還蠻簡單明瞭的所以沒有特別喜歡 (宮鬥劇看太多的缺點嗎XDD)
不過阿斯拉王國的內政問題也真是鋪陳了好久, 從ED魯迪還在做冒險者時, 愛麗兒就跟家臣一起在學園避風頭了, 本傳裡出現的篇幅可能還不輸艾莉絲? 接下來愛麗兒和路克留在阿斯拉, 大概就一陣子不會出場了吧...他們兩人和希露菲, 三人間不帶任何粉紅泡泡的患難之交還真的蠻感人的.
龍神奧爾斯帝德的內幕, 居然還有種主角威能的感覺!? 魯迪弱了XDD 算了有三個老婆就夠贏啦~
不過阿斯拉王國的內政問題也真是鋪陳了好久, 從ED魯迪還在做冒險者時, 愛麗兒就跟家臣一起在學園避風頭了, 本傳裡出現的篇幅可能還不輸艾莉絲? 接下來愛麗兒和路克留在阿斯拉, 大概就一陣子不會出場了吧...他們兩人和希露菲, 三人間不帶任何粉紅泡泡的患難之交還真的蠻感人的.
龍神奧爾斯帝德的內幕, 居然還有種主角威能的感覺!? 魯迪弱了XDD 算了有三個老婆就夠贏啦~
May 25, 2025
I dont konw how to describe my feelings towards this book. the pacing was good, but the story flowed through events like a calm stream. meaning that for how impactful and pivital this book is in the series the stakes were just non existent. because for one we know orstead is around the corner so every minor conflict is irrelivant and the grand finale while satisfying to an extent still wasn't as punctual or grandeous as I would have liked. Im honestly kind of dissapointed in this book, and the ending was extremely lame. I mean I know this is a nitpick but why did rudeus not ask for something more meningful from ariel. I mean he litterally says right after he ask's for his gift that she is now on track to be the richest person in the world SO WHY THE FUCK WOULD HE ASK FOR SOME LAME ASS LISCENSING RIGHTS FOR HIS STUPID FUCKING DOLL. literally the most infuriating make your dick soft ending of all time, I mean I would have rather him asked for a fucking pot of greed and infinte money then some lame non consecuntial shit. like ariel for a fact would have granted all the business rights stuff anyways cause there close friends so why didnt he ask for more. This is just an exemplary example of how this book builds these huge stakes than slaps you in the face with a wet blanket and farts in your face because you have expectations of a worthwhile payoff. It wasnt the worst in the serious and was a decent fast read but I just witnessed the end of a long multi book spanning arc and I dont give a shit. I mean rudeus didnt get shit nothing that felt impactful happened even though he helped ascend the next queen of the richest country and Im sitting here wondering what the poitn of it was.
This entire review has been hidden because of spoilers.
July 10, 2022
[4.5] aaaaaaaa Orsted you absolute monster, I love you. Once again he proves that he's nigh fuckin omnipotent, taking down the Water God like she was a mere gimmick fighter. No gimmick can pin down a whole room of amazing people like that. Orsted is just on whole different plane of existence. Makes me all the more impressed when in Vol 15 Rudy injured him as much as he did. The whole reveal that he's a timelord stuck in a timeloop and the development with Ariel and everyone, it's great stuff. Once again I await another volume for a few months =v=
This entire review has been hidden because of spoilers.
December 6, 2022
Honestly thought I’d hate this volume. I’ve been finding the kingdom reclamation with Ariel storyline and the Man-God storyline to be quite tedious, and this was looking forwarded to getting this out of the way so I could enjoy the next volume, however, this turned out to be really good while feeling like the end of the displacement arc. Finally. Kinda. Still no idea how or why it happened.
June 25, 2022
I love every book in this series and this one was another amazing installment I can't put too many opinions in here without spoiling anything but man do I love this series and how Rudy interacts with each of his wives. Polygamy done right in the fictional sense.
September 1, 2023
Akhirnya ada perang epic lagi, walopun gak sampe ada korban jiwa dari tim Rudy, suasana yg kebangun cukup bagus buat dihayati. Tapi karena diselingi joke2 18++ jadi rada kurang khidmat.. di akhir chapter muncul clue siapa 1 orang lagi bawahan dari mangod
This entire review has been hidden because of spoilers.
June 1, 2024
Finally getting around to getting the princess on the throne, and I have to admit this was rather great. Intrigue, big fights, overwhelming support, resolution of betrayals, and just... a really satisfying story.
I'm so glad I've continued with this.
What a wild ride it's been.
I'm so glad I've continued with this.
What a wild ride it's been.
October 12, 2024
Plot building is very weak. Fights are easily win. Everything is easy and handled to the main character.
I really hoped the political aspect of Ariel's return would provide us with good turnarounds... But no.
I really hoped the political aspect of Ariel's return would provide us with good turnarounds... But no.
April 25, 2025
WN - 4.25 on first read. A lot of action in this volume. Rudeus and crew are in full swing in the Asura Kingdom, and a lot of people don't take kindly to Ariel's political advances. The action and intrigue in this one were good, but overall, I'd say the Asura arc was weaker than past arcs.
September 15, 2022
Action packed and eventfull volume
I enjoyed Every chapter for this volume. Not even one chapter is dull. This sure is one of my favored volumes of MT Novel
I enjoyed Every chapter for this volume. Not even one chapter is dull. This sure is one of my favored volumes of MT Novel
September 17, 2022
Good
Just found it amazing. I wished they would of made a separate branch of the greyrats for Rudy. I would of hope they answered why Rudy was reincarnate to that world.
Just found it amazing. I wished they would of made a separate branch of the greyrats for Rudy. I would of hope they answered why Rudy was reincarnate to that world.
March 5, 2023
Genial, tuvo algunas partes que las sentí lentas, pero la resolución del conflicto fue divertida, aunque la sentí un poco simple, para el nivel general que ha tenido la obra.
March 13, 2023
I wanted to preface this comment with a joke. I can't leave a spoiler here. It was a really good book.
March 1, 2024
Puedo decir que este es mi segundo volumen favorito.
March 19, 2024
And so the Ariel princess ark is concluded
March 26, 2024
That ending????????????????????
May 6, 2024
This was a fun arc
October 14, 2024
Suspenso, buenas batallas... Atrévete a leerlo.
October 29, 2024
A good arc conclusion.
December 14, 2024
Rating: 3.5*
April 6, 2025
La verdad, para ser LA PELEA esperaba más. O sea que más acción, guerra, pleito, drama, lo que se espera de una pelea que has inducido por 17 tomos. Me quedó a deber 😒
June 15, 2025
Good volume. I really like the political intrigue and loved to see an abundance of aura farming at the end.
July 10, 2022
All preparations have been made, all Ariel and Rudeus can do now is to return to Asura and make a grab for the throne. Of course, the Mangod's servants (and dupes) are not going to lay down without a fight. Getting into the capital is the first hurdle, but there are more to overcome.
MT 17 is a solid addition to the series. It has a focussed plot with good character developments and a nice bit of action. Rudeus does not have much agency in this arc, following mostly along Orsted's plans. We do get a decent explanation on why Orsted did not just dealt with the opposition himself. It still felt a bit like a Dues Ex Machina at times.
All in all, a good read.
MT 17 is a solid addition to the series. It has a focussed plot with good character developments and a nice bit of action. Rudeus does not have much agency in this arc, following mostly along Orsted's plans. We do get a decent explanation on why Orsted did not just dealt with the opposition himself. It still felt a bit like a Dues Ex Machina at times.
All in all, a good read.
This entire review has been hidden because of spoilers.
Displaying 1 - 30 of 33 reviews