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Otherwise, the quality remains consistent throughout the entire series which is more than I can say for other series airing at the same time. In fact, one area that Studio White Fox have done a tremendous job on improving is rendering the background. While the manga does a decent job at framing its own surroundings, the additional detail and polish put in really elevates an aspect where the source material was lackluster.
Music
Taku Iwasaki, known for creating the soundtrack to Gatchaman Crowds, Noragami and Tengen Toppa Gurren Lagann, is responsible the music behind Akame ga Kill!. Judging by his other works, he has been consistently been able to produce music that a bit quirky to listen to but still be able to enhance whatever show he works on. For this series, he incorporates a variety of musical styles from jazz to rock to orchestral music and he does a commendable job of engaging the audience with his music, no matter what the scene called for. I especially like the OST being played during the action scenes as a combinations of drums, tribal chanting and rock goes with perfectly with the unhindered primal violence being shown on the screen.
Manga Adaptation
As with almost all adaptation from manga to the anime, some things are bound to get lost in transition and Akame ga Kill! is no exception. Character interactions that gave depth to their relationship are left out but those scenes didn't really contribute in significantly in altering the core plotline. It is only towards the latter half of Akame ga Kill! that readers of the manga will notice that that the rather straightforward adaption will suddenly veer off into the original anime ending territory that leaves behind an entire arc unanimated and takes several liberties with the story. If you are only familiar with the anime TV production, it is unlikely that you would notice much of difference other than the accelerated pacing and build up.

5 RE. Yen Press. ISBN 978-1975301743. ^ McCallum, Jessica (December 15, 2015). "AnimeLab Simulcast Line-Up For Winter 2016". AnimeLab.

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[21] Since 2012, all eight parts in the series have been digitally colored and distributed by Shueisha for smartphones and tablet computers under the brand name "JOJO-D". [22] A premium hardcover release of the first three parts was published under the brand "JoJonium" between 2013 and 2015. [23] In the early 1990s, Viz Media reportedly had plans for an English-language release of JoJo's Bizarre Adventure in North America as The Strange Adventures of Jojo;[2] in 2002, the series was unsuccessfully considered for release as monthly comic books. [2] Between November 2005 and December 2010, Viz published Stardust Crusaders, the most well-known part in the series, in 16 volumes. [24][25] However, the company changed the names of several characters and Stands due to copyright concerns and censored certain scenes, including scenes of animal violence redrawn by Araki himself. [2] In 2013, Viz expressed further interest in localizing the series, but explained its difficulties in doing so due to Araki's numerous references to real musicians and fashion designers. [26] Viz began publishing the JoJonium release of Phantom Blood digitally in September 2014, with a three-volume hardcover print edition following throughout 2015. [27] Battle Tendency was published in four volumes in 2015 and 2016,[28] and Stardust Crusaders was published in ten volumes from 2016 to 2019. [29] Viz continues to publish the series in their own digital and hardcover editions that emulate the JoJonium edition; Diamond Is Unbreakable was published in nine volumes from 2019 to 2021,[30] while Golden Wind began in August 2021. [31] In January 2022, they began releasing Stone Ocean digitally. [32] Spin-offs See also: Thus Spoke Rohan Kishibe and Crazy Diamond's Demonic Heartbreak Araki has also authored several manga spin-offs of JoJo's Bizarre Adventure.
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