Love Through a Prism has expanded beyond its Netflix anime with a manga adaptation and an upcoming two-volume novel adaptation from Shueisha's Jump J-Books imprint. The anime, directed by Kazuto Nakazawa at Wit Studio, remains available on Netflix.
Love Through a Prism began as an original anime from Boys Over Flowers creator Yoko Kamio, directed by Kazuto Nakazawa at Wit Studio, and debuted on Netflix on January 15. The series is a historical romance set in 1910s England, and its tie-in output has moved quickly since that debut.
Coverage of the series has split between expansion and criticism. A review published in May praised the lush background art and romantic tone but found the treatment of the period's social realities hollow. Class divides, sexism, and racism are reduced to personal obstacles easily overcome by earnest speech, while the British Empire and colonialism go unmentioned. The final act introduces major historical events only to gloss over them in favor of adventure-novel plot points.
The adaptation pipeline continued regardless. A manga adaptation launched on Shonen Jump+ and Manga Mee in January, and in October Shueisha's Jump J-Books imprint announced a two-volume novel adaptation. Both novel volumes ship on December 4 with newly drawn cover art. The first is subtitled The Day London's Sky Was Blue, the second Destiny is Beyond the Canvas.
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Shueisha's Jump J-Books imprint announced that Love Through a Prism, the original anime from Boys Over Flowers creator Yoko Kamio, is getting a two-volume novel adaptation. Both volumes ship on December 4 with newly drawn cover art. The first is subtitled The Day London's Sky Was Blue, the second Destiny is Beyond the Canvas. The anime, directed by Kazuto Nakazawa at Wit Studio, debuted on Netflix on January 15.
Love Through a Prism is a Netflix original anime, a historical romance set in 1910s England, and a new review takes its measure. The review praises the series' lush background art and romantic tone but finds its treatment of the period's social realities hollow. Class divides, sexism, and racism are reduced to personal obstacles easily overcome by earnest speech, while the British Empire and colonialism go unmentioned. The final act introduces major historical events only to gloss over them in favor of adventure-novel plot points, which forces the reviewer to accept the show as pure fantasy rather than grounded fiction. The verdict is that the romanticism is real and the craft is real, but the chosen setting is decoration the story declines to engage. The complaint lands harder because the show picked a real time and place and a diverse, international cast, then stepped around the history that came with that choice rather than confronting it.