Interview: The Creators and Cast of Sentenced to Be a Hero

Sentenced to Be a Hero is a light‑novel and anime series that completely overturns the traditional concept of heroism. Authored by Rocket Shokai and illustrated by Mephisto, the story follows Xylo Forbartz, a convicted killer assigned to Penal Hero Unit 9004 in a world where being a “hero” is a punitive duty rather than a coveted status. In this society, criminals are compelled to engage in combat and cannot escape their sentence even through death. The anime adaptation premiered in January 2026 with a one‑hour cinematic episode launching its first season. A second season was announced at AnimeJapan 2026 in March, and Crunchyroll has secured streaming rights.

Rocket Shokai, Mephisto, Yohei Azakami (the Japanese voice of Xylo Forbartz), and Mayu Iizuka (the Japanese voice of Teoritta) attended New York Comic Con 2026 as guests. There, Anime Corner interviewed them about the series, delving into its core premise, the evolution of characters from novel to animation, and the vocal performances of Xylo and Teoritta.

Portions of this interview have been modestly revised for better clarity. The discussion was carried out with the help of an interpreter.

Q: Rocket Shokai-sensei, the series is built around the idea that being a “hero” can be a punishment. It also poses complex questions such as “who deserves punishment?” and what it means to be a hero. When you first created the hero system for the series, did you already have firm answers to these questions? Did those answers evolve as the story progressed?

Rocket Shokai: The core premise has remained unchanged from the start in both direction and philosophy. In our story, the drive to do good stems purely from punishment, not from personal ego or self‑interest. Therefore, the notion of goodness is motivated by the obligation to atone, not by voluntary virtue, and this concept has not shifted since the beginning.

Q: The perception of characters changes for viewers when they transition from a novel to an animated series. Were there any instances where voice acting or animation resulted in a substantial re‑interpretation of a character by the production team?

Mephisto: Everything feels larger and more exaggerated in the animation, with heightened scale and impact. Even the number of enemies exceeds what I originally imagined. Thus, every aspect of the series is amplified by the animated format and the dynamic movement it enables.

Rocket Shokai: Adding voices to the characters lets me observe them from a more detached perspective. Although I created these characters, I’m astonished by how unusual, unique, and endearing they all are. For instance, Xylo is perpetually angry, and Teoritta is consistently assertive. Many subtle traits I incorporated are intensified. Hearing the voices bring them to life, and it’s a rewarding process to watch their evolution as they take on a third‑person dimension.

Yohei Azakami: The novel is presented from a character’s point of view, offering a personal, internal perspective of the events. Conversely, the animation adopts a third‑person, global outlook, narrating the story as an objective, almost historical account without a singular lens. Together, these formats provide a richer, more comprehensive experience of the world.

Mayu Iizuka: When reading novels, the imagination of a single reader is invited to fill in the gaps, resulting in a personal, limited palette of colors and ideas. In contrast, animation brings together a team, merging multiple viewpoints and thoughts, creating a layered product full of discoveries. This collaborative depth is what makes the adaptation truly intriguing.

Q: Azakami-san, you have previously mentioned that you don’t want Xylo to always appear as an overly cool, brooding hero. How do you determine the moments to portray him as heroic, cool, or distinctly human—or perhaps something entirely different?

Yohei Azakami: Rocket Shokai-sensei enjoys hard‑boiled novels, which include a coolness that isn’t forced. You can’t try to be cool and end up cool. It’s about infusing the ordinary, everyday moments with a natural, effortless coolness. The goal is to create a subtle, unpretentious nuance that feels both human and cool without being overdone.

Q: Iizuka-san, Teoritta and Xylo share many different facets in their relationship. It can seem like family, a tool, or something else. Do you mentally categorize this relationship with a particular label during your performance, or do you deliberately refrain from doing so?

Mayu Iizuka: For me, the crucial thing is not to rigidly define the relationship. Although I bring my own knowledge and biases, I let them go while breathing life into Teoritta because the character must remain free and unpredictable to feel genuine. This freedom allows unexpected elements to emerge, whether in the script or during recording, enriching the character’s voice.

Q: Mephisto-sensei, could you describe how you’ve integrated artistic decisions from the anime into the original material? How does this collaborative exchange work for you?

Mephisto: Animation provides the opportunity to showcase movement and subtle character habits—such as small hand gestures and nuanced motions that deepen a character’s personality, which cannot be captured in a single illustration. This process also helped expand the world and designs, especially weapons. The visual treatment of weapons in the anime became a source of inspiration that was later reflected in the illustrations. The interaction and collaboration with the animation team have been incredibly enjoyable and will continue to evolve as the project grows.

Q: Rocket Shokai-sensei, the series frequently draws moral parallels between penal heroes and the indifferent authorities that command them. Were any of the moral choices or positions taken by these groups inspired by real‑world events or organizations?

Rocket Shokai: While not directly reflecting current events, I’m heavily influenced by historical fiction, particularly focusing on natural disasters and humanity’s reactions to them rather than war narratives.

Q: Rocket Shokai-sensei, what prompted the inclusion of more human characteristics and the yearning for affection in the goddesses’ roles?

Rocket Shokai: These aspects aren’t necessarily a deliberate design choice from the outset, but when you examine the details, the qualities that enable these goddesses to endure—such as being lovable and seeking acceptance—are what keep them relevant. The desire for acceptance and love helped them survive, though this isn’t an intentional concept. When you look closely at how these deities have lasted so long, the underlying factor is their capacity to relate, to be endearing, and to be embraced.

Q: The anime alters how the relationship between the characters develops compared to the novel. Does observing these changes affect how you perceive or contemplate these two characters differently from how you would without seeing the anime?

Rocket Shokai: One of the biggest differences between the original novel and the animated series is the speed at which Teoritta and Xylo establish a bond. In the novel, this connection forms quickly and they move forward, but in the anime, it takes six episodes for them to connect. This slower pacing allows Xylo’s story to focus more on revenge, and the moment of catharsis in episode 6 when they finally bond becomes a stronger, more resonant scene in the animation.

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We extend our gratitude to Rocket Shokai, Mephisto, Yohei Azakami, and Mayu Iizuka for sharing their time with us at New York Comic Con 2026. The series Sentenced to Be a Hero is available for streaming on Crunchyroll.

©2024 Rocket Shokai/KADOKAWA/Project Sentenced to Be a Hero

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