Battle Girls: Time Paradox
2011 • TMS Entertainment
- Format
- TV
- Aired
- 2011
- Episodes
- 13
- Status
- Finished
- Studio
- TMS Entertainment · Sentai Filmworks
- Genres
- Action · Comedy · Ecchi · Science fiction
Hideyoshino is an average girl who always seems to find trouble wherever she goes. One day Hideyoshino visits a local shrine to pray in order to pass her upcoming test. However Hideyoshino sees a blue light coming from inside the Shrine and looks inside to find a mysterious person performing a magic spell. Hideyoshino in a stroke of bad luck trips on a small bell and crashes into the shrine prompting the stranger to catch her. However upon catching Hideyoshino the magic spell spirals out of control and sends Hideyoshino back in time to the Sengoku Era.
Hideyoshino then encounters Akechi Mitsuhide and Oda Nobunaga. But unlike what really happened during the era, Hideyoshino realizes that everyone in the world is female. She then decides to help Oda Nobunaga find the Crimson Armor which is said to allow the person wearing the armor to conquer all of Japan.
Synopsis from AniList
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Where it came from
Battle Girls: Time Paradox, known in Japan as Sengoku Otome: Momoiro Paradox, was produced by TMS Entertainment and released in 2011. The series was developed as a creative expansion of a popular line of pachinko machines by Heiwa, which featured reimagined female versions of famous Sengoku-period warlords. The anime adaptation serves as an isekai-style fantasy, following a modern middle school girl who is transported into a colorful, war-torn version of Japan where historical figures like Oda Nobunaga appear as young women.
The character designs for the series were handled by Hirokazu Yamayoshi, who aimed to translate the stylized aesthetic of the original pachinko game into a functional, episodic anime format. The production relies on a vibrant visual palette and comedic tone to contrast with the inherent chaos of the warring states setting. Upon its release, the show was noted by critics for its lighthearted approach to historical subversion and its clear connection to the multimedia marketing strategies typical of the era's gambling-to-anime crossover projects.
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