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Shounen no Abyss makes genuine waves to stand on the same wavelength of the classic by giving very legitimate structure and reason to the nature of the manga and Reiji Kurose's issues. There is legitimate thematic weight to not only Kurose but the abundance of supporting characters, each with their own unique pain and reasons to their own problems.
However, sadly this Manga seems to suffer from it's affiliation with Young Jump and thusly it's purpose as a Seinen. Now, my speculation here is not to be taken for verbatim. However, there is little else that could explain the bizarre sexualization and characterization inside the series. Minenami Ryou has dabbled in ecchi in the past but to place nudity within Shounen no Abyss to the point where it dabbles on the line of ecchi/fan-service is a bizarre choice to say the least. Now, sex and romance (or lack thereof) is most certainly apart of Coming of Age and a massive causation of depression worldwide and of course most importantly, within Japan. Though, in no good mind can I find the reason for the female characters to be one minute rendering their soul apart in double page spreads of pure outbursts of sorrow, anguish and rage to the next issue be throwing themselves on our main character as if he was lathered in aphrodisiac. In order to justify these rapid moodswings and sudden appearances of intense thirst, Minenami Ryou has to apply rather tired character archetypes in order to placate the Young Jump crowd and editorial staff. Particuarly of note is the disillussionment of the teacher character, one that as previously noted, has a legitimate reason to be involved with Reiji Kurose and has a genuine feeling of sadness about them but is then degraded to having a far too familiar trope seemingly forced onto them in order to remain prominent in the series and satisfy some weird neccessity that far too much Seinen seems determined to have.
As for the other aspects of the manga, the art retains the familiarlity of the rest of Minenami Ryou's work, not exceptional but acceptable, except for some occurrences where there are mild flexes that show impressive talent.

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The art and music can be described in one word: WOW! The art drawings were absolutely stunning! From the characters/titans to the setting of the story to all the equipment used in battle. The characters all had a unique aspect to them. The settings of the anime were beautiful. The cities, and walls looked realistic, the plains that characters dreamed of seeing made me want to run outside to see for myself how beautiful nature really is, and how humans under appreciate the naturality of nature. The 3-D gear was something that really caught my eye, and will certainly catch other people's eyes as well. A new form of action that's never been seen before. The characters would literally fly from rooftop to rooftop slicing their swords at the titans at high-speeds that keep the viewers eyes locked onto the screen at all times. The soundtrack in the anime was epic as shit. The openings speak for themselves, they do the anime justice. The openings were epic and certainly set the mood of what was to come from the anime. "They're the prey, and we are the hunters!" The rest of the soundtrack in the anime was okayasgduyasgda AMAZING. Retrieved October 23, 2021. ^ Mateo, Alex (June 30, 2022). "'Don't Toy with Me, Miss Nagatoro' Anime's 2nd Season Unveils Title, Cast, Staff, January 2023 Premiere". Anime News Network. Retrieved June 30, 2022. ^ 「イジらないで、長瀞さん」新キャラが登場する第2弾PV、上坂すみれのOPも解禁.
Having come off of drawing a sports manga, he wanted to create a series about more basic concepts, such as "life and death, the human condition, etc. " Rather than portray Musashi's later life in his "enlightened state", which has been written about often, the author chose to depict the lesser known "young man reaching that point of enlightenment when he comes from a place of being so like an animal". In 2009, he stated that he made his weekly deadline thanks to only having to draw the people, with his five assistants drawing the backgrounds. [8] When drawing, Inoue avoids speed lines and instead keeps showing bodies based on his understanding how human bodies work. [9] Since not much is known about the real Musashi, Inoue wanted to give his own take which he considers more modern than other related works. He regards the artwork for Vagabond as a challenge in contrast to Slam Dunk and Real.