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Viz Media. ISBN 978-1-4215-0644-9. ↑ Thompson, Jason (2007). Manga: The Complete Guide. New York: Ballantine Books & Del Rey Books. p.

Ippo watched Itagaki's match against Saeki, which ended in Itagaki's win. Ippo went to the waiting room to congratulate him as Kimura and Aoki go off for their matches. Ippo watched Kimura's match on the television screen where he lost by decision against a previous JBC junior lightweight champion and then Aoki's match against Iga where he lost by knockout. Due to Baron having Iga beat Aoki without knocking him out until he was satisfied, Aoki's sustained severe injuries. Ippo went with everyone to take Aoki to the Kawai Hospital. Afterwards, Ippo congratulated Itagaki for making MVP in the tournament and believed that Aoki and Kimura would star over again and try again. However, Yagi told him otherwise, as Aoki and Kimura were pushed to their physical and mental limits from those fights, and believed Shinoda, who takes responsibility may also quit, coming to a conclusion that no matter what happens, it will be the Kamogawa gym's turning point. Later, Kimura went to get Ippo and Itagaki to go with him to visit Aoki at the hospital. Along the way, Ippo, worried about Kimura retiring, told him that he shouldn't rush the decision, to which Kimura replied that he would let Aoki decide for him whether or not they both retire. When they get there, Aoki ultimately decided that he would keep boxing with Iga as his goal and Kimura would continue as a junior lightweight and aim for the title. Later, Ippo was called to Kamogawa's office, where Kamogawa offered him a shot at the world, with the goal of fighting WBA champion Ricardo.

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But remember that Seita is supposed to be a 14-year-old boy in the 1940’s, a time where he would be considered an adult capable of working for a living. He’s relatable to us because of how we would view someone of that age but comes across incompetent for someone from his time.
These issues stuck out like a sore thumb on second viewing, partly due to how simplistic the film feels in its presentation. Grave of the Fireflies is often seen as the Ghibli feature to break away from the conventional family-friendly films the studio has produced, and while it does deliver on an unflinching war film not suitable for all ages, it also just so happens to lack the whimsical spirit that gave those other films such striking personality. Takahata has his strengths, from his interest in realistic imagery to his sense of social responsibility as a director, yet here his style feels neutered to a point where little personality can be found in the directing. He’s not Miyazaki, but the film appears contempt in what it wants to achieve, never aiming for more than the core emotional attachment felt though the script. Each scene is carefully calculated, but never ambitious in their purpose. Even the cheerful moments only balance out the hell Seita and Setsuko are in, never acting as driving components for either character. The music also does little to help the experience move along, rarely ever effective in smoothing out transitions or amplifying sentiment in an authentic way. It unironically makes the most emotional moments come off more canned than real. At the end of the day, the presentation may look very pretty, especially when it comes to the animation, but otherwise is rather insignificant when building on the emotional side of the film. March 1, 2008. p. 113. ISBN 978-4-0540-3733-5. ^ a b Roman 2007, p. 71.