Brandon Lee and the New Wave of American Isekai Anime

Brandon Lee and the New Wave of American Isekai Anime

By Ryoko Kato
NAP Contributor

In recent years, anime based on online “reincarnation” novels has become a popular trend in Japan. Among them, one title stands out, “The Beginning After the End” (TBATE). Originally published as a web novel in the U.S., TBATE was adapted into a Japanese television anime and has since captured the spotlight. The series, which has amassed over 150 million views on the web comic and light novel platform Tapas, is set to release its second season in 2026. We spoke with Brandon Lee, the Seattle-based author behind the story.

Portrait of Brandon Lee. Photo courtesy: Crunchyroll.

Brandon Lee (pen name: TurtleMe) was born in Korea and raised in Los Angeles, California. He studied psychology at the University of California Berkeley before working in finance. He later transitioned into writing after discovering a passion for storytelling through hobby writing.

©TBATE Anime Production Committee Photo courtesy: Crunchroll.

How do you feel about your American web novel being adapted into a Japanese anime? 

“It may well be the first time an English-language web novel and web comic has been adapted into an anime in Japan. Even if it isn’t the very first, I feel deeply honored and aware of the responsibility that comes with being a trailblazer. The entire experience has felt like a dream. I’ve learned so much about the world of anime production and seeing my story reach across borders and resonate with audiences has been one of the greatest joys of my career.”

What was it like working with a Japanese animation studio? 

“Since this was my first time working with an anime studio, I can’t compare it with other companies. Typically, studios make the final calls on scripts and direction, but Studio A-CAT, the team behind TBATE, was very open to my feedback. There was, of course, a language barrier, but Crunchyroll* stepped in, not just as producer but also as a cultural bridge. While anime is a different medium than novels, I’ve come to respect and embrace those differences.”

Many Japanese works borrow from medieval European fantasy. Did that feel strange to you? And what cultural elements did you bring into your own work? 

“In anime and manga, you often see European-style fantasy worlds mixed with unique cultural elements, and I see that as a form of creative fusion. Having moved from Korea to the U.S., I’ve naturally gravitated toward blending Eastern and Western influences.
For example, TBATE includes classic fantasy races like dwarves, elves, and dragons, but I’ve also infused Eastern ideas such as reincarnation, spiritual discipline, and the styling of elven attire. Above all, I focus on building a world readers can truly connect with. To do that, I balance cultural variety with consistency and believability.”

What was the biggest challenge in adapting your web novel into anime?

“The nature of anime production requires each season to function as a complete story arc. That meant condensing a sprawling narrative into a single season, while ensuring the finale satisfied viewers who hadn’t read the original. At the same time, the ending needed to leave room for excitement about what’s next. Striking that balance was one of the hardest but most important tasks.”

Your protagonist Grey, the most powerful king of his era, chooses a gentler life when reborn as a boy named Arthur. Can you explain the psychology behind that? 

“For Grey, who lived in isolation despite his great power, being reborn as Arthur offered something he had never truly known: human connection. In this second life, discovering love and friendship became both healing and transformative. Carrying the weight of past regrets, he cherishes this life as a chance to learn about love. Protecting those bonds drives him to grow stronger, yet the more powerful he becomes, the heavier the fear of loss. That tension between wanting to be a better person for loved ones and fearing their absence is the emotional engine of his journey.”

TBATE is unique as an American-originated story produced in English, animated in Japan, and streamed worldwide. What impact do you think this model will have on the industry? 

“Having grown up within both Eastern and Western storytelling traditions, I believe there are universal themes that transcend cultural boundaries. As web novels, anime, and manga continue to globalize, we’ll see more creators from diverse backgrounds step into the spotlight. If TBATE has contributed even a little to that movement, I couldn’t be happier. Look at Sony’s K-POP Girls! Demon Hunters — a show rooted in Korean culture yet adored worldwide. It’s proof that cross-cultural collaborations are only going to grow more common, opening the door to entirely new waves of storytelling.”