Now, let’s dive into *Mushoku Tensei* Volume 14. I’ll be focusing on chapters 1-9, which I’ll review separately since a larger narrative arc kicks off afterward and continues into the next volume. The bulk of these chapters take place in Perugius’s castle, with a brief side trip back to Rikarisu. However, the main plot isn’t closely tied to these locations; instead, it centers on Nanahoshi’s illness, which was hinted at in the previous volume. Perugius’s castle mainly provides a convenient setting for diagnosing her condition and offering some exposition on it. The story revisits information established back in Volume 9: Nanahoshi naturally lacks mana and cannot produce it, while everything in this world is composed of mana. Normally, the mana within a person’s body acts as a shield against external mana, preventing it from poisoning the body. But since Nanahoshi lacks this internal mana, her immune system reacts, causing her to develop severe fevers. However, this immune response is ineffective against the external mana, making the illness fatal without treatment.
The way this explanation is laid out is impressively authentic and grounded, reminiscent of real-world diseases. It explains why Nanahoshi’s isolation delayed the onset of the illness (since she wasn’t exposed to much external mana), and also why the disease has practically died out—people have developed immunity over generations by accumulating more mana in their bodies, essentially through evolution. Treating the illness isn’t particularly difficult either; it involves using certain leaves for a tea that expels the mana through the digestive system. The challenge is that almost no one possesses this knowledge anymore, as the disease has been extinct for so long. This means that Rudeus and his friends have to track down Kishirika, one of the few remaining beings with the necessary knowledge, who then provides the simple solution.
The premise of this story arc is believable without being over-the-top—Rudeus and his friends aren’t required to perform some impossible feat to cure an incurable disease; they just need to uncover lost information. But first, they must find the right person and then locate the right herb, which is only difficult because Atofera is staying at the castle during this time. This creates a plausible scenario where Rudeus’s group must embark on an adventure while also providing a reasonable explanation for why the problem can be solved relatively quickly, without making the story feel like a video game. Interestingly, not only are the setting and plot only loosely connected, but the main theme of the story also heads in a different direction: nostalgia and melancholy.
This entire volume conveys a sense of nostalgia both internally, through the characters’ thoughts, and externally, through the narrative. Externally, this is evident in the return to Rikarisu, the reunions with familiar characters like Kishirika and Nekopara, the exploration of Perugius’s fortress, and the interactions between Zanoba and Perugius as they reminisce about the art of the past. Perugius himself, an old legendary hero from a long-forgotten era, finds peace with Rudeus when the latter helps him resolve a centuries-old conflict with Atofera by giving him an opportunity for revenge. Internally, this nostalgia is reflected in how often Rudeus thinks back to the past: his time with Eris and Ruijerd, the many people they met along the way, Elinalise’s promiscuous past, his evolving relationships with Zanoba and Cliff, his time with Nanahoshi, and, most of all, his daily life with his family. The most powerful moment likely comes when Rudeus murmurs to himself how much he loves life in this world, how beautiful it is, and how he never wants to give it up—a sentiment that gives even more weight to the everyday stories from Volume 13.
But it’s not just Rudeus who is caught up in nostalgia. Zanoba admits to feeling homesick for the first time, Nanahoshi’s longing for the past is stronger than ever, and even Nekopara presents herself differently to Rudeus because of his pleasant memories of Roxy. These three layers—setting, plot, and central theme—initially seem disconnected but ultimately come together to create a cohesive work centered on the theme of looking back at the past and how people cope with it. It’s fitting, then, that one of the most touching moments in the entire series occurs when Nanahoshi reflects on her past and her relationship with Rudeus. After keeping her distance from him—partly because she thought he wouldn’t understand her (he loved the world she wanted to escape), and partly because it pained her to see how well Rudeus was thriving in a world where she was suffering—she finally expresses her sincere thanks and apologizes for how she treated him. Up until now, she viewed their relationship as primarily businesslike, which made her feel compelled to “reward” him for his help. But now, she can finally see him for what he truly is: a friend. This allows her to let go of her greatest fear, which I believe was the third reason she kept Rudeus at arm’s length: the fear of betraying her old home by forming genuine, meaningful relationships in this new world and creating something she might have to leave behind. And after all the recent romantic developments, this moment of open and honest friendship, which beautifully ties into one of the series’ central themes, is a wonderfully poetic moment that brings the narrative arc to a satisfying conclusion.
However, I do have some criticism, mainly concerning Atofera. The main issue with the series is that it has created these “immortal demon god,” beings who are, by definition, unbeatable. This wasn’t much of a problem before since characters like Kishirika and Badigadi were mostly used for comedic purposes, but it becomes an issue when this concept is applied to a serious setting. For Rudeus, this experience was supposed to be existential—he was on the verge of killing someone for the first time, he was terrified of never seeing his family again, or of being unable to save Nanahoshi—yet the tone was more humorous because Atofera wasn’t trying to kill him but to forcibly recruit him. In a way, this mirrors the events in Volume 6 in Shironne, as highlighted by Zanoba’s unusually proactive and simply cool role in this volume. However, in Shironne, the plot didn’t drag, and Rudeus’s attitude toward the events was much more relaxed: he trusted that Ruijerd and Eris would come soon, and he was never really emotionally challenged. The external mood matched the internal one, which isn’t the case with Atofera. On the contrary, the somewhat slapstick battle against her often stood in stark contrast to Rudeus’s inner turmoil, reminding me of the issues I had with the Deku vs. Gentle Criminal confrontation in *My Hero Academia*. This made Chapter 8 feel a bit disjointed. There’s a moment where Cliff rushes toward the teleportation cave, and during that time, an absurd amount of events happen in a “5-Minutes-Namek” style, and Rudeus somehow manages to squeeze in two pages of thoughts in a split second. I’ve never seen *Mushoku Tensei* have such a disharmonious relationship between it's internal and external textual levels. This doesn’t ruin the volume by any means, but it does stand out as a significant issue, especially because I enjoyed the rest so much.