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The following is an excerpt from the speech congratulating Takehiko Inoue: "From Toyotomi to Tokugawa. Musashi Miyamoto grew up amidst the turn of two great eras. Mr. Inoue has taken the powerful Musashi who was sometimes called a 'beast' and drawn him as a vagabond. The artist brags about
boldly challenging the national literary work of Eiji Yoshikawa, even so, the sense of speed that he creates is impressive. I send my applause to the artist for creating a new image of Musashi". [40][41] The same year, the series won the 24th Kodansha
Manga Award in the general category. [42] Vagabond also received the Grand Prize of the sixth Tezuka Osamu Cultural Prize in 2002, and the North American version earned Inoue a nomination for the 2003 Eisner Award in the Best Writer/Artist category. [17] Critical response[edit] In early releases of the manga, MangaLife found Musashi appealing for his quest of strength and Inoue's detailed artwork despite its slow pacing. [43] They find the early journey of Musashi impressive due to the emphasis on violence over his mental development and his connections with Matahachi. [44] The eventual release of the sixth volume received more acclaim from the Manga Life for further developing Musashi's bushido, his acceptance of his weak point and how Matahachi also kept appearing despite the two still not meeting.
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The tangible plot of Sonny Boy is a straightforward mystery box which just so happens to have a great deal of surreal elements, but this simplicity is a good thing, because with all the symbolism and character details you already have to keep track of, any narrative
structure more complex than this would’ve been way too overbearing and—now that I mention it—probably would’ve made the series as confusing as everyone already says it is. What makes the cast so good is a combination of the expressive character animation I mentioned earlier and the fact Natsume personally wrote the script for every episode, making every character feel consistent. I was actually worried about him writing, because while Natsume is a fantastic director, I wasn’t sure how confident I was in his ability to direct AND write his own original project. While his themes weren’t as profound as he might've hoped, his character writing was first-class, and while some episodes were definitely more verbose than necessary, he still proved my worries wrong. There’s a cute, snarky cat girl whose cats work for Jeff Bezos at Nyamazon, an Indian exchange student who literally invents bitcoin, a New York Yankee’s fan who builds a religion around baseball playing monkeys, and a five thousand year old talking dog. This
idiosyncratic charm defines nearly every character, and the few exceptions are still well-realized and serve as a much needed anchor.
