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The collection is praised for offering an interesting and varied exploration of Japanese horror, presented chronologically by author birth year, which provides a historical perspective on the genre's evolution. Several stories and authors are highlighted as particularly strong. Edogawa Ranpo's contributions, such as "Human Armchair" and "The Red Chamber," are noted for their original, well-executed style, reminiscent of classic mystery and gothic literature. Sakyo Komatsu's "The Mouth of Savages" is described as intense, pure horror, showcasing a vivid imagination, while Ryo Hanmura's "Tansu" is appreciated for its mysterious and subtly chilling atmosphere. Koji Suzuki's works, including "Coffin in the Sky," "Lemon Heart," and "Happy Birthday," are lauded for their excellent, fast-paced style, blending science fiction and horror elements. Otsuichi emerges as a consistent standout, with "God's Word," "Zoo," and "So-far" receiving high praise for their exploration of disturbed psyches, unexpected plot twists, emotional depth, and unique elements, with "So-far" even recommended beyond the horror genre. Yoko Ogawa's "Welcome to the Museum of Torture" is also mentioned for its originality.

However, a significant criticism across reviews is the inconsistency in story quality, a common challenge for anthologies featuring multiple authors. Some of Edogawa Ranpo's stories, while original, were occasionally found to have bland or unconvincing plot twists. Tetsu Yano's "Legend of the Paper Spaceship" was noted for not fitting squarely into the horror genre, focusing more on cultural mentality, and having an unsatisfying resolution, with concerns about how its poetic elements translated. Yoko Ogawa's "Poisonous Plants" and "Welcome to the Museum of Torture" were sometimes perceived as unfinished or lacking a clear central point. Additionally, Koji Suzuki's longer contributions, while enjoyed by some, were found by another reviewer to be overly detailed and elaborate, leading to an ultimately unsatisfying conclusion despite their length. A minor technical issue with incorrect story titles in the table of contents was also noted in one edition.

Overall, the collection offers a mixed but intriguing dive into Japanese horror, effectively showcasing its diverse subgenres and historical progression. It is recommended for readers who appreciate short story collections and are open to a wide array of horror styles, from psychological thrillers and subtle dread to more grotesque and science fiction-infused narratives. This book would particularly appeal to those interested in exploring Japanese horror literature, discovering new authors like Otsuichi, and experiencing stories that push genre boundaries, even if the quality varies between entries.