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Roll Kick – used against Kurokawa and Yuujirou Hanma. King Tiger – used against Shuumei Kanou for the first time, later used against Yuujirou Hanma. Bow and Arrow – used once against Atsushi Suedou. Seiken – basic karate's technique; used once against Koushou Shinogi. Submission – one of Baki's signature moves from first series; used against Koushou Shinogi for the first time. Dropkick – used against Mount Toba. Suplex – used against Mount Toba, for example. Goutaijutsu – powerful fighting move based on the seiken from karate; used against Kureha Shinogi for the first time, and later against Biscuit Oliva. Enzuigiri – used against Kanji Igari. Front Neck-Lock – used against Kanji Igari for the first time. New Cobra – Baki's original move; used against Kanji Igari.

Although he kills all of them, one of them leaves him with a severe wound. The aftermath of Musashi's solo battle, has him his return to wandering despite being offered the position of mentor. Meanwhile, Matahachi's mother passes away, leaving his son to tell the story of the manga. Musashi's new wandering leads him meet the orphan Iori, whom he decides to raise while dealing with a village with poor fields. Musashi, Iori and Toyozaemon's journey to the retirement estate of Yūsai Hosokawa, Otsū and Jōtarō's situation living with the Yagyū, while Kojirō deals with the Hosokawa. Production[edit] While borrowing content from the Musashi novel, Takehiko Inoue took liberties when writing Vagabond, most notably the fight between the protagonist and the 70 Yoshioka which was one of the hardest to draw.

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[85][86] The film went to debut on $5 million in its opening weekend, finishing seventh at the box office behind Dungeons & Dragons: Honor Among Thieves. [87] By May 2023, Suzume earned $10 million at the box office. [88] Critical response[edit] On the review aggregator website Rotten Tomatoes, 96% of 132 critics' reviews are positive, with an average rating of 7. 9/10. The website's consensus reads: "Suzume sees director Makoto Shinkai falling just a bit short of the bar set by previous outings – but when the results are this visually thrilling and emotionally impactful, it's hard to find much fault. "[89] On Metacritic, the film has a weighted average of 77 out of 100 based on 27 critic reviews, indicating "generally favorable reviews". [90] Audiences polled by PostTrak gave the film an 89% positive score, with 72% saying they would recommend it. [91] On Japanese review site Filmarks, Suzume received an average rating of 4. 00/5 based on 6,585 user reviews, placing second in its first-day satisfaction ranking. [70] Matt Schley of The Japan Times gave the film 4 out of 5 stars, and called it "the director’s most satisfying work yet. " He praised the art and animation, and while he described some of the dialogue as "cliche or cringe-worthy", he also felt that the film was "a bit more mature" than Shinkai's past films. There’s no better feeling than when you put two and two together and find out your theory was indeed correct. It’s definitely a breath of fresh air from the constant info dumps in other anime, though there are still some info dumps in this show as well.
To give a gist of the setting and story, it’s set in a post apocalyptic world where human civilization was destroyed, man-eating monsters are all over, laying waste to the remains of the land, and threatening the lives of the survivors. Meanwhile, there is a facility that is isolated from the rest of the world, which nurtures children in a very peaceful setting. It reminded me of The Promised Neverland in a way, with the Grace Field house. The two protagonists, Kiruko and Maru are seemingly looking for this place, which they call “Heaven”, and along the way they encounter many intriguing things, as tales on the inside of the nursery and outside get told. Themes around human nature, companionship, and the search for meaning can be seen in both settings, which made for great parallels and comparisons between both the children and the protagonists of the outside world. It was quite interesting seeing the stories of both the nursery and the outside world being told side by side with one another, not relying on info dumps or conventional flashback sequences to understand the lore of the world.
Not only is it very thought-provoking, it also looks and sounds incredible, with an audiovisual experience that always had me paying attention and sometimes on the edge of my seat. The directing is phenomenal in really setting the atmosphere and the eerie tone in the more important scenes, but also can change into a very light tone in more comedic scenes. The backgrounds show us the backdrop of urban decay, rather than just flat out telling us.