Which Studio Produced My Next Life As A Villainess Anime?

I’ve got a soft spot for the cute chaos of 'My Next Life as a Villainess', and if you’re asking about who draws the manga, the name you want is Nami Hidaka. The original story comes from Satoru Yamaguchi (he wrote the light novels), and Nami Hidaka handled the manga illustrations that helped translate that rom-com-meets-reincarnation vibe into panels. I picked up the first volume on a rainy afternoon and was struck by how Hidaka’s art leans into expressive faces and soft, clean lines—perfect for both the comedic flops and the sweeter moments. There are also a few spin-offs and 4-panel strips with other artists, so if you hunt around you’ll find slightly different takes on Catarina and the gang. If you like the anime, the manga’s visuals will give you that same warm, goofy charm in print.

I’ve been poking around because that question got me curious during a lunch break, and the short reality is: there’s no official public confirmation naming the studio(s) for 'Freya' next season—at least nothing concrete from the show’s official channels yet. I checked the usual suspects (official Twitter, the show’s website, MyAnimeList and Anime News Network) and there are only hints and fan speculation so far. That’s the annoying part of seasonal anime news cycles: confirmation can be slow even when production is quietly underway. If you want a practical next step, look at the ending credits of season 1 right now. The studio listed under ‘animation production’ or the staff page on the official site is the likeliest candidate to return. Sometimes the same studio does it, sometimes a different studio takes over because of scheduling or budget reasons. Also watch for announcements about a ‘production committee’ or new staff—those are the telltales that multiple studios or partners could be involved. I follow a few Discord servers and Twitter accounts that post scans of production credits as soon as they appear; those are gold for catching early confirmations. I’ll keep an eye on it and refresh those feeds over the next few weeks—if anything official drops, I’ll be the one refreshing like a maniac. If you want, I can list the exact places to check regularly or set up a little checklist for spotting legit studio announcements versus fan rumors.

I still get a little giddy thinking about digging through back issues for this one. The manga adaptation of 'My Next Life as a Villainess' first began serialization on May 25, 2015. I dug that date up while tracking the series’ print history — it’s fun to see the way the story branched from a web novel into a light novel and then into several manga versions and an anime. If you like timelines, the web novel came earlier (2014), the light novels followed, and then the manga started running in 2015. From there it grew into the well-loved franchise that got an anime in 2020, which boosted the manga’s visibility even more. I always find it satisfying to trace where a fandom’s favorite version first showed up, and for me that May 25, 2015 serialization date is where the comic-loving part of the community first got hooked.

I can tell you that 'Life Vest Onyx' is being produced by Studio Bind, the same studio behind the visually stunning 'Mushoku Tensei: Jobless Reincarnation'. Studio Bind has a reputation for delivering high-quality animation with rich, detailed worlds and fluid character movements. Their work on 'Mushoku Tensei' set a high bar, and I'm excited to see how they bring 'Life Vest Onyx' to life. The studio's attention to detail and commitment to adapting source material faithfully makes them a perfect fit for this project. From what I've gathered, 'Life Vest Onyx' is based on a popular light novel series, and Studio Bind's expertise in adapting light novels is well-documented. Fans of the source material are in for a treat, as the studio has a knack for capturing the essence of the original work while adding their own creative flair. The announcement of Studio Bind handling the anime has already generated a lot of buzz in the community, and I can't wait to see the final product.

I get asked this a lot when people binge the anime and want more — good call, because the manga keeps feeding that same cozy, chaotic energy. As of mid-2024, the main manga adaptation of 'My Next Life as a Villainess: All Routes Lead to Doom!' has 16 tankōbon volumes in Japan. If you’re reading in English, the licensed release usually trails the Japanese schedule: the English print run is a few volumes behind but catches up gradually through local publishers and digital releases. Also worth flagging: there are a couple of spin-off and 4-koma manga that expand the world and play up the comedy, plus anthology volumes and special chapters sprinkled into magazines. If you want the absolute latest count (publishers sometimes release new volumes or side books), check the publisher’s site, BookWalker, or retailers like Amazon Japan — they update immediately when a new volume drops. I’m always refreshing my feed when a new volume is announced, so if you want I can help track the next release date for you.

I get oddly sentimental talking about this — slice-of-life romance is my comfort food, and I’ve noticed a few studios that consistently deliver the warm fuzzies (or the slow-burn heartaches). Kyoto Animation sits at the top of my list because they treat tiny human moments like big cinematic events. Their work on shows like 'Clannad' and 'Tamako Market' (and the tear-magnet 'Violet Evergarden') shows how careful direction, character animation, and voice acting can make ordinary conversations feel like the center of the universe. I still pause scenes to watch background details when their shows play. P.A.Works is another go-to for me when I want beautifully realized towns and slow-burn romance — think 'Nagi no Asukara' and 'True Tears'. Their settings often feel like characters themselves, which makes the romantic developments land harder. On the lighter, punchier side I love Doga Kobo: 'Monthly Girls' Nozaki-kun' and 'Plastic Memories' showcase their knack for crisp comedy timing and expressive faces that sell romantic awkwardness. J.C. Staff and A-1 Pictures are reliable for adaptations that balance dramatic beats with slice-of-life charm — 'Toradora!' and 'Your Lie in April' are great examples. If I want something edgier or moodier, Lerche’s 'Scum's Wish' is a darker take on relationships that still lives in that slice-of-life register. Madhouse surprised me with the warm-hearted 'My Love Story!!'. Bottom line: studios bring different flavors — cozy, pastoral, comedic, or bittersweet — so I pick based on the mood I need, then dive in with snacks and a comfy blanket.

I've been dipping between the pages and screens of 'My Next Life as a Villainess: All Routes Lead to Doom!' for years, and honestly, the manga feels familiar but distinct compared to the anime. The core plot and characters are intact — the heroine's disastrous-but-adorable attempts to avoid doom, the romantic hijinks, and the comedy beats all translate well. Still, the manga often trims or rearranges scenes for pacing, so some small jokes or slow-build moments from the anime land differently on the page. What I love about the manga is the space for slightly different character expressions and little panel-only jokes that the anime couldn't always fit. On the flip side, you miss the voice acting, music, and timing that make the anime scenes hit hard — those emotional or comedic beats sometimes feel punchier with soundtrack and VA work. If you're chasing fidelity strictly, the manga is faithful to the spirit and story, but expect variations in detail, emphasis, and pacing. For the full experience, I usually flip between both versions: anime for the atmosphere, manga for bonus beats and quiet moments you can linger on.

I dove into the credits for 'Divorce Is the Best Choice' and was pleasantly surprised by how collaborative the production felt. The series is credited primarily as a Chinese production, with Haoliners Animation League often appearing in the main production credits alongside Bilibili (as a producer/distributor). In many modern donghua, Haoliners handles a lot of the core animation and direction while Bilibili backs the project financially and handles streaming and promotion, and that pattern seems to hold here. Beyond those two big names, you'll usually see several supporting studios and subcontracted teams listed for in-between animation, backgrounds, and compositing—things like local art houses or smaller animation studios that specialize in cleanup and coloring. Music and sound work frequently come from independent studios or freelancers contracted specifically for the show, and publishing partners or rights-holders are often credited as co-producers. That multi-studio, multi-role setup is pretty common for Chinese animated adaptations. I found the mix of companies interesting because it explains why the series blends slick character animation with moments that feel distinctly artisanal—different teams bringing different strengths. I really enjoyed watching it and seeing how those collaborations show up on the screen.