The series also includes Balsa's Table (バルサの食卓, Barusa no Shokutaku) (ISBN 978-4-10-130278-2), a non-fiction volume that includes cooking recipes with photos of the cuisines described in the series; and Complete Guide to Guardian of the Spirit (「守り人」のすべて, Moribito no Subete) (ISBN 978-4-03-750140-2), an extensive guidebook with background information on the setting and characters and a new short story, "Haru no Hikari" (春の光) by Nahoko Uehashi, about Balsa and Tanda's relationship.

[7][better source needed] Some volumes of the series have also been translated to Italian, Korean, Vietnamese, Macedonian, Portuguese and Spanish.

The series premiered in the United States at 1:30 a.m. on August 24, 2008, on Cartoon Network's Adult Swim block, but was dropped from the schedule without warning or explanation on January 15, 2009, after two runs of the first ten episodes.

On June 13, 2009, the series was back on Cartoon Network's Adult Swim block in the United States at 1:30 a.m. Sundays, but was moved to 2:30 a.m. Eastern time, swapping it with Fullmetal Alchemist in November.

It appears this third and final season will adapt Moribito II: Guardian of the Darkness, which takes place in Balsa's home country of Kambal.

[11] The series is licensed for Northern America by Digital Media Rights and available to watch in the region on AsianCrush[12] and Hoopla.

[14] Other themes discussed by scholars include "loyalty to promises made, protection of a child in danger, the commitment to restore balance in the world", as well as "society and borders, respect for living creatures, destiny, politics and power, and the influence of religion".

Traditional gender roles are also challenged by themes such as Tanda's fondness of cooking and prince Chagum's story of "giving birth" to an otherworldly "egg".

[14] Similar observation has been made by Helen Kilpatrick who noted that Balsa's character and her relationships with others "casts light on the state of some of Japan's changing attitudes on gender, workforce and family roles".

[16] Helen Kilpatrick and Orie Muta also analyzed the series as a study and critique of "ideologies of a homogenous Japan" and "challenging Nihonjinron", showing "the importance of diversity and collaboration" between different ethnic groups and nation states.