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I Come From the Abyss to Save Humanity Today
Type
Web Novel (CN)
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Rating(4.1 / 5.0, 46 votes)
5    61% (28 votes)
4    9% (4 votes)
3    13% (6 votes)
2    13% (6 votes)
1    4% (2 votes)
Language
Support Book (#ad)
Author(s)
One entry per line
Artist(s)
One entry per line
N/A
Year
Example: 2012
2020
Status in COO
Status in Country of Origin. One entry per line
7 volumes / 1090 Chapters (Completed)
Licensed
N/A
Completely Translated
No
Original Publisher
One entry per line
English Publisher
One entry per line
N/A
Release Frequency
Every 3.5 Day(s)
Activity Stats
[Graph]
Weekly Rank: #3914
Monthly Rank: #4732
All Time Rank: #10531
Reading List
[Graph]
On 651 Reading Lists
Monthly Rank: #6704
All Time Rank: #11735

Description

Links are NOT allowed. Format your description nicely so people can easily read them. Please use proper spacing and paragraphs.

The Abyss—represents pure annihilation, they possess incomparably powerful strength, following their instincts to devour all life in the world.

However, one day, a traitor appeared among them.

“Miss Sylvia, it’s time to demonstrate your power.”

“Eh~ but the dessert, hasn’t been finished.”

She is still a manly man today.

Associated Names
One entry per line
Despite Coming From the Abyss, I Will Save Humanity
I, The Abyssal, Have Decided to Save Humanity Again Today
I, Who Came From the Abyss, Will Save Humanity Again Today
I Who Came From Hell Also Want Save Mankind
Laizi Shenyuan De Wo Jintian Yeyao Zhengjiu Renlei
Láizì Shēnyuān De Wǒ Jīntiān Yěyào Zhěngjiù Rénlèi
来自深渊的我今天也要拯救人类
Related Series
N/A
Recommendations
I Became A Ghost In A Horror Game. (1)
I Became a Witch in a World Full of Urban Legends (1)
Rose Princess of Hellrage: Although I got Killed for Political Reasons, I got Revived as the Strongest Undead (1)
After Taken as a Prisoner of War, the Vampire Queen Turned Me Into a Vampire and Made Me Her Daughter (1)
I Reincarnated and Became the Daughter of a Dragon?! (1)
Recommendation Lists
  1. GenderBend Novels
  2. Criminally underrated epics
  3. Just read the manga
  4. The Favorite Story

Latest Release

Date Group Release
06/15/25 Clown & co. v2c36
06/12/25 Clown & co. v2c35
06/08/25 Clown & co. v2c34
06/05/25 Clown & co. v2c33
06/01/25 Clown & co. v2c32
05/29/25 Clown & co. v2c31
05/25/25 Clown & co. v2c30
05/22/25 Clown & co. v2c29
05/18/25 Clown & co. v2c28
05/15/25 Clown & co. v2c27
05/11/25 Clown & co. v2c26
05/08/25 Clown & co. v2c25
05/04/25 Clown & co. v2c24
05/01/25 Clown & co. v2c23
04/27/25 Clown & co. v2c22
123…6
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4 Reviews sorted by


avyvanja
avyvanja rated it
June 17, 2024
Status: Completed
I very much enjoyed this novel. In fact, I think this is probably one of my top 5 novels of all time?

Worldbuilding (4/5) : The author does a very good job with his worldbuilding. Of course, like with a lot of novels, it's a relatively "soft" kind of worldbuilding in the sense that while there are strong general and specific explanations and constructions of various aspects of the world, there are still a number of vacancies in certain parts of the story regarding the functioning of the world.... more>> The important thing is the gaps aren't that significant, the important aspects are very well fleshed out, and the world itself and its history is something that both plays an important role and is very well explored.

Plot & Pacing (4.8/5) : I enjoyed the plot and its development. This is a story that the author mentions he's had planned out from the beginning, and it in fact does follow a very well-paced, fully-fleshed out plot. The only place (s) perhaps where even the author thinks he might have rushed things were v3 and the ending of v7. Personally, I do feel like v3 was a little rushed in the sense that there were many plotlines to pull together and so it was one thing after another. Pacing like that in a story usually makes me feel a bit suffocated, which I'm quite sensitive to. However, I don't feel like it was overly so. I've read longer novels with more intense pacing than this, and that was suffocating to read. v3 just feels a little more intense than the other volumes of the novel. The ending, however, is where a lot of novels fall flat, perhaps including this one. Authors that write online often encounter this problem, where they start running out of stamina around the last third (or ~200 chapters, whichever is fewer) of their novel since it's coming to an end. This was only the case for this author around the last 5 or so chapters of the novel, I feel. All things considered, it wasn't a bad ending at all. I think it could have done with a bit more polishing and rounding off, but it was not bad considering the author's circumstances (partway through the novel, he went and got married, had multiple bad health situations along the way, etc.) I think he did a very good job of telling the story he wanted.

Characters (6/5) : This is a story in which there are very few "cannon fodder" characters. Any minor named character will show up at least twice before dying (if they do indeed die), once during their first introduction to the main or supporting cast, and at least once more in another place where they display their contribution to the story or the setting. Furthermore, each one of these characters is given a proper characterisation of the the kind of person they are, their motivations, and their outcomes. I feel like this is an author who gives due respect to every named character he puts into his story. He also makes them feel human, which is very difficult to do as an author who put SO many characters into his story. There are no one-dimensional evils, nor are there one-dimensional saints, nor are there even one-dimensional character tropes. Every single character who does something evil has their motivations, has their complexities. Every single character who does something good has their cruelty, has their contradictions. The author does a very good job of capturing the complexity of human nature and its myriad outcomes. In fact, I'd say that this author is a much better writer of human relationships and human emotions than he is of writing grand plots like this novel is. Everything said and done, this novel's plot boils down to a "hero's journey" plot - the main character starts out knowing nothing about their fate, gains strength, defeats enemies, encounters difficulties, gains strength, etc., defeats the big bad. But what truly makes this novel stand out for me is the development of human relationships through the characterisations of various characters in the novel interacting. I felt so many emotions while reading this novel because of how compelling the characters were. Almost every one of them could be at least a supporting cast member in another novel, even the minor named characters in this novel. The supporting cast members in this novel were fleshed out so well that they could be main characters in another novel. Furthermore, the descriptions of character emotions were really excellent in this. How they feel, how they respond, how they express their emotions - all of it was spectacular. It's a plot-driven novel by nature, but its excellence comes from its characters. I would read a character-driven novel by this author any day.

Narrative (4.2/5) : The author uses a predominantly first-person perspective for most of the novel, switching to third when necessary. At first, I wasn't too thrilled about first-person, but it grew on me a lot. And thinking back on it, I think the author made the right choice. First-person as a primary perspective and third-person as an auxiliary perspective is exactly what this novel needs. I simply cannot imagine it being told any other way. However, I would rework the way the author does it. The author starts off using almost entirely first-person at the beginning, and only when he finds it no longer sustainable does he start switching to third-person, doing it more and more towards the end of the novel. Having now completely read the novel through, I would put a lot more third-person perspective in the earlier volumes, and more first-person in especially the final volume. This is important because in the first couple of volumes, we have very little information on how others see our main character. Of course, through the perspectives of these early characters later on in the novel, we get to see it more and more, but there are some things that I think are lost when we don't get them early on. I won't give examples since I want to keep this as spoiler free as possible, but I think it would be very interesting and almost crucial to see how the characters in the early part of the novel experience the main character. It would help chart her growth a lot better and give us a much better idea of how much she changes (or doesn't change) over the course of the novel. Similarly, I would have loved to experience her perspective much, much more at the end of the novel. This is why I felt like the writing dropped off a bit towards the end. The main character suddenly had very close to zero screentime in terms of insight into what she's thinking, what she's feeling, and what kinds of decisions she's making, which makes it feel incomplete in terms of concluding her character. The thing is, this isn't exactly a character or plot issue, this is a narrative issue. The author didn't return to her inner perspective properly at the end and conclude the story there. One other thing I think was lacking was the description of fight scenes. Personally, it didn't matter to me that much because this novel to me would be neither better nor worse no matter how the fight scenes were described, I think. But objectively, I think the author could have done better in describing fight scenes and how they played out. When it comes to the intricacies of fights, I think the author is a little lacking in some areas, especially large-scale battles. One-on-ones are pretty good, but large-scale battles tend to be done quite roughly, without too much detail or strong description.

Afterstory (1/5) : Most authors don't know how to do afterstories well. I've read so, so, so many novels, and afterstories are only done well in a small handful of them. Honestly, the most complete afterstories that I've read have usually been Korean FMC noble drama ones - you know, the ones where a woman gets transmigrated/reincarnated/regressed in a world where she's a noble lady who has some terrible ending and has to get out of it somehow but she now has prior knowledge and it usually ends with her marrying a hot and powerful man who loves her to bits. Those. These afterstories are complete because they're formulaic - the theme of the ending of the main story is "stability", where the main couple, after various schemes and twists and turns, finally end up in an unshakeable and (often) lofty political position; meanwhile the theme of the ending of the afterstory is "bliss", where the main couple has no worries, live their life in complete happiness, and often have one or two very adorable children. In my experience, however, Japanese and Chinese novels often have a much harder time grasping the ins and outs of afterstory completeness. Some afterstories go on for far too long (looking at you Arifureta, Demon Sword Maiden) and some are far too short (this novel). However, I actually feel like Arifureta has one of the best afterstories a Japanese novel has had. Let me explain. The arcs after the main Tortus arc has concluded are all lumped together as afterstories. However, I don't really see them as such. To me, Tortus Travel Journal and some other associated miscellaneous fillers like Myuu's stories are much more afterstory. The other arcs feel more like Arifureta 2 instead. Similarly, Different World Travel Journal feels a bit more like Arifureta 2 afterstory (although it isn't, there's still plot happening). There is a sense of completeness in the way the author is pulling together the people involved in the story, their emotions, their experiences, etc. The best afterstory a Chinese novel has done in my opinion is The King of Hell's Genius Pampered Wife (TL available on this platform, ~50% translated) because it's light, fluffy, and crucially releases the tense emotions reading the main text while not being overly meandering or too long to the point where it feels like you got tricked into reading a 200 chapter slice of life (the afterstory is indeed over 200 chapters out of 3661, but I think the author did a good job).

Here's my take on afterstories. They serve a few main purposes. The most immediately relevant one is to tie together any loose ends that weren't fully resolved in the main story. This can be anything, from the main character's future actions, to the outcomes of certain characters that weren't covered in the main story, to the general future of the world, to the daily lives of characters afterwards, to the development or restoration of technologies or infrastructure now that everything is settled, to the development of current or new relationships between characters, etc. All of these are valid material for the afterstory to cover, and it's up to the author what they want to focus on based on what they most left unresolved in the main story. The next most important purpose of an afterstory is to release the tension the audience has after reading the main story. Most main stories end after the major climax of the novel. No one is a stranger to this. The big bad is defeated, or the main character finally returns home, or the leads finally get married, or something along those lines, right? The main story ends right after the highest point of emotional and/or mental tension of the audience. The job of the afterstory is to gradually soothe and appease that tension and bring the reader to a relaxed state where they can feel satiated. This is why most (good) afterstories have little to no stakes - they're written for the reader to relax and enjoy the afterglow of the great journey/victory the protagonist has experienced. The last important purpose of an afterstory is to write a continuation of the main story, which I guess is the literal meaning of afterstory. In some cases, one might want to write a small after-arc to "truly" finish the story - I've seen this in one or two novels. It's not common because it's often not a very good indicator. It usually means a novel wasn't concluded well, and it requires an afterstory to finish telling the main story.

This novel has a terrible afterstory. The novel was concluded in an okay manner, and if it concluded without an afterstory, I would have been disappointed but accepted it and moved on while leaving a review that mentioned that the ending was okay but could have been a lot, lot better. This novel breaks the rules of good afterstories. At first, it seems to be following the path of relaxing storytelling while discussing how certain things unfolded later. Standard stuff, very pleasant. However! At the end of the 2! TWO! chapter afterstory, the author drops a freaking bomb like he's lining up a sequel cliffhanger at the end of a movie. Wrong! Bad! Not only does it leave everything that was unresolved STILL unresolved, it also doesn't relieve any tension from reading the main story, and ramps up the tension with NO way for it to be relieved, AND requires an after-after story to complete it. This is more or less the worst possible way to do afterstories. It's short, resolves nothing, and creates unresolvable tension for the reader. I left this novel feeling betrayed. The end of the afterstory is epic, very epic, for sure, and I loved the image the author left us with, but... there was so much left unsaid that it completely overshadowed, and in fact diluted the awesomeness of the image that the author left us with. I feel like I got Marvel Movied by the author (you know how Marvel movies do the thing where they give you a teaser for their sequel so you come back and watch more) except there isn't a damn sequel! Or more afterstory to read! And now I'm left with all this unresolved tension boiling in my chest because I need a proper afterstory to release all of it.

Additional Criticism (significant spoilers for later volumes) :
Spoiler

If I'm being very honest, I don't like how Pepe's relationship with Vicky turned out. Actually, I think what I'm unhappy with is how the "loss of emotions" plot device turned out. At the end of v5, she loses the vast majority of her emotions after becoming essentially a demigod, right? I feel like this plot device could have been taken in a variety of directions.

  1. It could have been explained as a result of trauma from the experimentation she had undergone since her personalities merged.
  2. It could have been a result of becoming less human, and thus at the end of the novel becoming a god could have wiped all of her emotions completely.
  3. It could have been a temporary condition that she could slowly reverse.
  4. It could have been a temporary condition that she could find a middle ground between this state and her previous emotional state.

But what it ended up being was a proxy for "character growth". Instead of learning over time to be more mature, more grounded, less easily tricked, more resolute, etc., this plot device was shoved in as a characterisation crutch to make her all of those things all in a hurry. It also seems like the author's way of making sure she and Vicky never end up together. Instead of allowing the characters and the relationships between them to develop naturally, the author seems to have decided that the main character will be #singleforlife and made sure it happened no matter how he had to do it. See, there are less extreme ways to not have Pepe and Vicky end up together. Here's one such way: Pepe goes through all of those things on the Eastern continent and during her half year long wandering, filters through her emotions and figures out that no, unfortunately, she cannot return Vicky's feelings. Those emotions that she feels are that of someone being extremely near and dear to her, but they're not romantic or s*xual in nature. I have faith in the author's writing skills to pull that off.

This is something akin to a "Bury Your Gays" trope where queer characters get killed off in media so as not to show queer relationships on screen. In this case, it's metaphorical, where Pepe's emotions get killed off so she doesn't have to feel anything for Vicky. But y'know, when you look at how their relationship was written in the earlier volumes, you know. You know Vicky is special to her. Special in a way that no one else is. And it may not be romantic, it doesn't have to be. But it was heading in that direction and killing it off just felt so... unresolved and empty. I would have loved to see them together, for sure, but what grabs at me more is the way it was handled, since I feel like there were better ways to not have them be together. The way it was done was just... really bad.

And this brings me to the larger point - that her parents and Vicky both say "she's grown up" in response to her dulled emotions. Like, no, it's not that, you should be worried! Something happened to her! I feel like this is one of the largest unresolved points of the whole novel, that a huge change happened to her emotional state, but everyone (author included) is acting like it's fine and needs no further addressing. There's no explanation for why it happened, there's no visible downsides (seemingly), and there's no resolution to it at all. I understand the in-universe explanation that she doesn't want to tell her loved ones because they'd be worried or hurt but... I want her to tell Vicky. Mostly because I think it's not fair to Vicky. She bared her heart but Pepe won't be honest with her. Even if it's going to hurt her, I think it would have been much better for Pepe to be completely honest with her about where she's at.

Anyway, that's my rambling about this one specific thing that really got me feeling all weird. I do like emotionless Pepe quite a lot if I'm being honest, but I'm not a fan of how it's handled with respect to her relationships with people she had been very close to.

[collapse]

Conclusion: I really enjoyed the novel overall. While there were things that weren't so great about it, I feel like it was an incredible experience and the characters and their relationships truly carried the novel. It's a great work, and you can tell the author really put his heart and soul into it. I'd truly recommend reading this if you can reading Mandarin or stomach MTLs (since it seems no one is TLing it atm). Even though I took off a lot of points for the things I didn't like about it, at the end of the day it actually only makes up a relatively small part of the overall reading experience. It's a very, very good novel and definitely one of my top 5 novels of all time. I will also say that once the tension has left after reading the story, the ending scene of the afterstory is *chef's kiss* levels of epic. <<less
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Damed soul
Damed soul rated it
January 1, 2024
Status: 25.
I have high hopes for this novel. It isn't a typical Chinese novel. The character are not one dimensional and pretty flushed out character. And the MC isn't op as f*ck from the beginning.

Translation is pretty good. And overall a very good start
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gegehehe8686
gegehehe8686 rated it
December 18, 2023
Status: v1c20
I didn't think that much of it at first, but the story is getting pretty interesting. I'm interested to see the MC get stronger and figure out the mystery of the Abyss.

So far the only thing I really dislike is the gender bender stuff. It's barely even a plot point, so why not make the MC female in their first life too? The author might make use of it later, but right now it feels random and meaningless.
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Felo
Felo rated it
May 17, 2025
Status: v1c26
It was a very nice read, thanks for the translation. Just finished the first volume and was impressed by the writing, although a little disappointed at certain character's sad actions. The author has a way of writing details that make characters come alive, yet not feel boring to read. Thanks ~
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