Honestly, the stupidest thing this chapter is the other girl who had an opportunity to remove her bindings and tried to remove her mouth gag last instead of first, the moment one hand was free, to warn the extra silly girl that this is obviously not a part time job.
The next stupidest thing is the cult leader finally realising she's unknown and still thinking about killing her. Even if he considers that she'll remain an enemy, he's seen how strong she is and it should be obvious he doesn't have the means to harm her.
Personally, I don't really mind how extra silly "unknown" is. She is shown to have had no common sense even when she was in the boonies and now that she's interacting with people she's got zero clue. There's no better time to show her being this silly than at the beginning, because she'll eventually wise up. Maybe. XD
Of course, the pacing is a bit rough when you consider that she's been on a cross for the last 3 chapters, that this arc started on chapter 5 and that there are currently only 12 chapters.
But the reality is that the moment she understands that the cult needs to be apprehended, it'll be over in a single page. So I wouldn't be surprised if she did absolutely nothing the whole arc or even tried to defend the "part-time work president" from the incoming gardeners who have come to resolve the situation.
Well, it's ok enough for now.
I said it on a previous chapter - but the hard part for the author with a character like her, is that there's no middle ground to her mentality in all of this. She's either 100% oblivious and obtuse to the whole of existence around her, or she's competent and utterly unstoppable in whatever she chooses to do.
So with the direction being "clueless nuke" from the outset, she
cannot be allowed to ever actually gain situational awareness. Because the moment she does, she instantly annihilates whatever antagonist--human or Stranger--appears before her, and she becomes a walking Weapon Of Mass Deterrent for the nation of Japan who will find out who she is in short order.
And...at that point, this stops being the comedy it's being presented as. From where I'm sitting, the setting itself is too dangerous and the stakes are too great to allow for the type of absurdist humor we've been given - it only works in the first place because the one person who could single-handedly destroy every Stranger and save (or rule, arguably) the world would make a sack of cracked bricks look like Einstein.
And so, the author now has to justify her never gaining contextual awareness or growing as a person in the social sense--which, mind you, was one of her primary character arc goals, alongside "making friends"--and we also need to ramp up the threat level from where we've started, because introducing less-dangerous enemies kills the momentum that's been established with this first arc. And
that means, that no one else in the world can allow her to find out the truth of what's transpired here, and the longer that delusion is forced to last, and the more instances and events are piled atop it, the more twisted and strained the entire setting becomes to perpetuate her ignorance and simpleminded naivety.
Which, I suspect, means a definite shelf life on the series if the author wants the premise to be preserved. Because as these 12 chapters have shown, you can ask your readers to suspend their disbelief for only so long before the gag starts to wear thin - especially when the setting that the gag is taking place in is so dramatic and high-stakes.
The narrative dissonance created between the protagonist and everyone and everything around her doesn't seem like something that can hold for forever.
Maybe the plan is to eventually drop the silly parts the revolve around Kinoko's personality, but again, that also means the type of humor we start with likely won't persist. Maybe it could be done, but given it
only lands because she's this dumb, if she starts getting smart, the singular axis the humor rests on disappears - and then this just becomes and action story with a protagonist that sits wholly outside the power scaling of the setting, and what narrative obstacle exists at that point?