Sorawo nearly dies in her attempt to explore it, but is rescued by Toriko Nishina, a young woman who is skilled with guns, more experienced in regards to the Otherside, and is looking for a lost friend.

[2] Sorawo and Toriko, spurred by the payments delivered by a researcher named Kozakura, return to the Otherside to bring back artifacts and deal with the monsters best that they can.

[54][2][55] Funimation had licensed the series and streamed it on its website in North America and the British Isles, in Europe (minus Germany) through Wakanim, and in Australia and New Zealand through AnimeLab.

Even so, Moore said that the chemistry between them "could have come through stronger", called the visuals a "mixed bag" and said that there has been "a real lack of queer genre fiction in anime" recently, meaning she is "all the more excited to explore it".

James Beckett, on the other hand, said that he was only lukewarm to the anime and said that while he is "not asking the show to answer all of my questions upfront", he would like "a little more context" and that he hopes that it "manages to live up to its potential".

Just as positive was Rebecca Silverman, saying that the series was fascinating and creepy, saying it will likely be a faithful adaptation of the yuri manga it is based on, while saying there are "a few little missteps" and would like to know more "about the whole urban legend/internet myths piece" too.

[77] Alton further says the two protagonists stand out in the genre, with Sorawo as a college student who "keeps to herself" and Toriko who is experienced at using a gun, something which violates existing Japanese law, which tightly controls firearms.

[78] Additionally, Christopher Farris reviewed the anime's fourth episode for Anime News Network, noting that the vibes and ideas of the episode fit the series, while pointing to inconsistencies with the storytelling, and stating that within the theme of fear, everything else "works wonderfully", praising the sound design and how it taps into people's fears.

[82] She argued that it feels like a "a statement on the isekai craze of recent years," and concluded it was a "solid adaptation...worth reading all on its own."