“Brunhild The Dragonslayer” official synopsis from Yen Press: “Eden… A place of perfection, where man and beast live side by side in harmony… Eden’s protector, the silver dragon, regularly visits retribution upon those who would bring harm to paradise. But when the dragon discovers a human girl on the shores of Eden, he decides to raise her as his own. He teaches her that if she is to be welcomed into God’s kingdom after death, she must not harbor hatred in her heart. But when the dragon’s life is mercilessly snuffed out by human machinations, the girl must choose whether to heed his dying wish and stay the course of righteousness…or walk a path of vengeance.”
Yukiko Agarizaki‘s “Brunhild The Dragonslayer” blurs the line between a light novel and the more traditional definition of a literary work. With another book in the series, “Brunhild the Princess of Dragons,” the release stands on its own and is a fully enclosed story. Moreover, Agarizaki’s themes are far removed from the expected tropes of a typical fantasy light novel; there are no isekai, cute girls, and comedic beats. “Brunhild The Dragonslayer” is exceptionally bleak, brutally honest about the inherent fallacies of human nature, and approaches themes of revenge without catharsis or romanticization. This is not a cut-and-dry light fantasy affair that one would expect to carry the ‘light novel’ label.
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This distinction is made early on, with Brunhild’s origins as a kidnapped child who finds herself on the shores of a utopia, Eden. Instead of dying from the blood of a dragon, like 99.9% of humans, she becomes part dragon. She is given the gift of being able to eat from the Tree of Knowledge, learning the ‘true language’, and being taught about the price of divinity and accepting God’s love. Here, one can compare the introduction to a Christian parable emphasizing living a moral life and a need to submit to a deity greater than oneself. However, the novel has more in common with classic Germanic literature: honoring gods, praising tribal ancestors, and reflecting a rigorous ethical code and emphasis on individuality. There is also a degree of modern progressivism, with the idea of utopia expounded of being free of definitive genders. It is a fascinating mix, and while overly conservative in how it explores the importance of virtue and morality, this should not dissuade readers.
Brunhild is also the perfect protagonist to explore such themes. Through her (adoptive) father’s death (an inevitable laid out early in the book), Brunhild learns to hate the world of men and carries this spite with her as she is forced to live among people. This conflicts with the dragon’s wisdom versus understandable human emotions. Notably, death being welcomed with divine reward when left free of hate contradicts the very human desire to seek revenge for the murder of a loved one. Brunhild’s push toward violence despite her parents’ teaching frames a willful defiance that leads toward a deeply engrossing, inevitably tragic downfall.
Yukiko Agarizaki’s approach to the build-up of Brunhild is fascinating. Objectively, the troubled youth is unethical in manipulating others and causing harm. Still, her undying love for her father and strong personality make her oddly admirable. This is highlighted by the few ‘friends’ she makes in the world of man, finding themselves entranced by her knowledge, wisdom, beauty, grace, and physical prowess. Her brother Sigurd shares a particularly riveting bond as their conversations always represent two drastically different worldviews trying to interpret each other. No line of dialogue or interaction in “Brunhild The Dragonslayer” is fruitless; at 150 pages, nothing feels overlooked, and no space is wasted.
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Those who have previously collected Yen Press’s Makoto Shinkai’s works will be familiar with the format and quality of the physical release; a compact, hard-cover edition that looks sharp on the shelf. However, the art from Aoaso, including a pull-out poster, gives even more reason to own the physical over digital. The afterword shows Yukiko Agarizaki’s insight into how the story evolved into the final, depressing product and is a welcome addition.
“Brunhild The Dragonslayer” won’t find mass appeal, particularly for those expecting the familiar beats of a light-novel fantasy; it is unforgiving and emotionally charged and explores morality from a standpoint inspired by (mostly) conservative values. The fantasy elements are also integrated into the story in a way that they feel secondary, and the action is light except for one confrontation near the book’s climax. Of course, this won’t deter those looking for unique content within the genre. Still, its approach is not comparable to other ‘dark’ series like “Overlord” of the recent “Blade and Bastard” by “Goblin Slayer” author Kumo Kagyu, which will likely see the light novel met with varying opinions.
While I consumed the work in two sittings, I would be biased to expound it as a fantasy masterpiece. The release will only appeal to a niche audience, existing in a genre normally tailored for escapism over confronting harsh concepts such as the inevitability of death and how unglorified revenge is with the weight it leaves on the ‘soul.’ Still, for those who like challenging narratives that touch on deeper issues, “Brunhild The Dragonslayer” offers a thoughtfully tailored allegory sorely absent in the light novel format.
