“The otome game ‘Magical Academy: Love & Beast.’ I still can’t make any sense of why a boring ol’ nobody like me would get reincarnated into this world.”

If we exclude Apothecary Diaries, then From Bureaucrat to Villainess was easily the show I became most hyped for following the first episode. This has admittedly been a season of mixed quality, in my opinion, so that praise may not have carried the same heft it would’ve had in other seasons, but it still made for a solid endorsement.

Looking back now, I can confirm the show may not have lived up to my expectations, but it remained an enjoyable time. The show is awash in fun personalities and dynamics, and the key twist on the formula brings enough to the table to prevent this from becoming stale. I do have a few criticisms, with the main one being an extension of an observation I noted back in the premiere. Still, anyone who wants to scratch that isekai itch could do a lot worse than From Bureaucrat to Villainess: Dad’s Been Reincarnated!.

As the title suggests, the show follows father and office worker, Kenzaburo Tondabayashi, who finds himself reincarnated into the world of his daughter’s otome game as the villainess. Now, he has become Grace Auvergne, the haughty and entitled noble who torments the protagonist. Kenzaburo’s initial instinct is to avoid rocking the boat, and just perform the role that has been assigned to him, but that falls apart pretty quickly, as his fatherly instincts and eye for efficiency tend to kick in before any opportunities to contemplate villainy. As a result, Grace quickly becomes close friends with the game’s protagonist, as they attempt to navigate the magical school they are attending. Unbeknownst to Kenzaburo, his wife and daughter are following along from home, aiding him in navigating the game, with the hope that its completion will allow him to wake from the coma his body is currently in.

Kenzaburo/Grace really is the linchpin holding the show together. Their sense of duty and calculated approach to the dynamic of the magical academy are the ignition behind much of the show’s comedy. If I had one criticism of the character, though, it’s that they roll with the punches to almost a ludicrous extent. Kenzaburo is so at ease with the situation that we never have a single hint of the tribulations that one would face when finding themselves in a body of a different age, build, and gender than they’re used to. The closest the show comes to even acknowledging the distinction is Kenzaburo’s joy at not needing reading glasses anymore.

The biggest issue, which I noted in my First Impressions review, was that Kenzaburo doesn’t have defined goals to work towards. He’s unaware of the state of the outside world, so he doesn’t know that he isn’t dead. This can leave the plot feeling a bit unfocused and meandering, as it jumps from school event to school event. I noted at the beginning of the season that this show’s trajectory remained nebulous, and that never really changes. It remains funny and engaging, but without clear stakes it could almost be considered a slice-of-life. This isn’t anything new to the fantasy or isekai genres, but there are stakes that seem to get lost in the proceedings. Even Kenzaburo’s family, once they’ve gotten over their dismay at the situation (in record time, I might add), are pretty nonchalant about the whole scenario.

Even if the tone and structure leave me a bit puzzled, the characters help prevent the show from dragging. Not all of them are winners, but none were annoying. There are a bunch of male romantic leads, but Kenzaburo has no interest in pursuing romance, so they’re mostly there for their one note gags and for Grace to attempt to set up the game’s protagonist, Anna, with them. Like with Next Life as a Villainess before it, it quickly becomes clear that Grace has unintentionally dispelled the notion of someone falling in love with anyone but her.

On reflection, I’d argue the show is probably more charming than it is outright funny. As it progressed, the humor stopped hitting as reliably. It never became tired or irritating, and it was still able to get a chuckle or two out of me, but it did cease to be the primary draw.

Ajiado is a studio I’ve encountered a few times over the years, but I really adored their contribution from last year, A Sign of Affection. That was easily my favorite work from the studio, and while I enjoyed Bureaucrat to Villainess, it isn’t taking that top spot. Their work on this production is fine, but it isn’t their strongest showing. As the show went on, I didn’t notice a drop in animation quality, but the slightly flat composition did occasionally catch my attention.

If you’d asked me, I would have probably assumed this was a light novel adaptation and not a manga adaptation. The visual aesthetic is a little simple when contrasted with its most obvious and aforementioned “Villainess” sibling, My Next Life as a Villainess. None of the animation is bad or subpar, but it sits firmly in the middle of the pack as far as quality is concerned.

What I can’t help but sing the praises of is the absolute joy of an ED. The OP is good, but compared to the ED, it might as well be whatever Haruhi Suzumiya played opposite Hare Hare Yukai. The ED eclipses all. I made special mention of it back in my First Impressions review, but if you haven’t seen it, you should check it out. Also, you might as well look up the original Matsuken Samba music video while you’re at it. The history surrounding that song if fascinating.

Before I wrap up, a few Notes and Nitpicks:

• Ajiado has another anime coming out later this year based on a seinen manga, Yano-kun no Futsū no Hibi, but that will be in the fall.
• As far as I know, there hasn’t been an announcement for a second season, but the show certainly drops breadcrumbs relating to future plot points. It certainly feels incomplete, though that isn’t surprising given the manga is still ongoing.
• I think I’m in the mood for an isekai break. Hopefully, none of the interesting shows in the coming spring season lean heavily on the tropes of that genre.
• I’m limiting myself to no more than 6 shows this spring. Nine was just too much. Of the 8 which wrapped up this season, I didn’t get a chance to write reviews for Orb: On the Movements of the Earth or I May Be a Guild Receptionist, But I’ll Solo Any Boss to Clock Out on Time, but I enjoyed both.

From Bureaucrat to Villainess was a fun romp, even if it didn’t succeed in meeting my lofty hopes for it. If you go into it looking for a fun comedy that plays with the isekai formula without ever shedding its roots, I don’t think you’ll be disappointed. 

Score: 3.5/5