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Everyone in the show is terrible at communicating—not because this is true to actual high school students, but because it's repetitive writing. It's never a mystery what a character is thinking, and if you can't tell, the directing makes it even simpler.
When they don't know how to communicate the characters' thoughts, they just put a text box on-screen. Adapting a manga involves more than copying and pasting panels—you creatively develop ways to show emotions through body language, music, camera angles, and editing. The extent of Horimiya's visual storytelling is by focusing on a character, slow motion, changing the backdrop to a white wall, and adding a colorful shadow. The first time, it was unique. It conveyed Hori and Miyamura's thoughts. Even though they were evident without the sudden art style change. Then they kept doing it. Eventually, it would happen five times per episode for each side character. It lost its effect right away and became forced.

Kagaya asking Muzan on what he hopes to achieve. Beneath his otherwise kind and gentle personality, Kagaya bore a deep, burning hatred of Muzan Kibutsuji. As the cause for his family's cursed lives, he showed uncharacteristic silent anger towards the demon and addressed him without showing any indication of fear or hesitation. He repeatedly provoked him by mocking his intentions to become an eternal being and boldly stated that he would die, and in his final moments, he bore a smile on his face to lure Muzan into a false sense of security as his trap was activated. Despite his own hatred towards him, Muzan was amazed that Kagaya had hidden his bloodlust during their conversation and was shocked Kagaya was willing to kill his own family from his own perspective, having underestimated the lengths he would go to in order to weaken him. Abilities[] Overall Abilities[] Emotion Masking: Kagaya possesses the remarkable ability to conceal his emotions and present a composed and controlled outward appearance.

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[52] MVM re-licensed the series in late 2011. [53] In Region 4, the series was released as a complete series box set by Madman Entertainment on 15 October 2003. [54] Second series (2019)[edit] Main article: Fruits Basket (2019 TV series) A new anime adaptation was announced in November 2018. [55] The new adaptation would start in April 2019, and would adapt the entire manga. It features a new cast and staff, as per Takaya's request, with TMS Entertainment handling the production. Yoshihide Ibata is directing the series, with Taku Kishimoto handling series composition and Masaru Shindou handling character designs. [56] The first season ran for 25 episodes from 6 April to 21 September 2019 on TV Tokyo, TV Osaka, and TV Aichi. [57][58] The first opening theme for episodes 1–13 is "Again" by Beverly. [59] The second opening theme for episodes 14–25 is "Chime" by Ai Otsuka. [60] The first ending theme for episodes 1–13 is "Lucky Ending" by Vickeblanka. [59] The second ending theme for episodes 14–25 is "One Step Closer" by Intersection. [23][86] Upon its official release, the first volume was reviewed by Rebecca Silverman for Anime News Network. She described it as a "deeply engrossing book" and praised it for its attention to detail and "excellent period detail" in its depiction of medieval times, though expressed disappointment at the lack of interesting female characters. [87] Johanna Draper Carlson of Comics Worth Reading described the action in the first volume as "fast-paced, well-illustrated, and detailed" but "didn't transcend its premise"; she was instead more impressed by the scenes depicting family life, saying "that's where the insightful character work I expected from Yukimura came through. "[88] Carlson also praised the scenes depicting domestic life as providing grounding context for the story, as well as weaving in religion and politics, finding Vinland Saga "a fascinating read on multiple levels". [89] In The European Middle Ages through the prism of Contemporary Japanese Literature, Maximen Denise from University of Tours noted how the lack of proper knowledge about the real life of Thorfinn in The Greenlanders and Eric the Red made Yukimura come across with a more original background for how the main character becomes a Viking during his youth, giving him a realistic characterization which contrasts with Thorkell's supernatural strength. According to the writer, while Thorfinn is originally driven by revenge, the manga also explores his desire for power, similar to "those who desperately struggle to find their homelands in the 21st century 'medieval' Japan". [90] Following the end of the first story arc, critics were surprised by Thorfinn's quieter personality and noted that despite his life as a slave, the plot manages to make his life with other slaves interesting. [91][92] The romantic relationship between Thorfinn and Gugrid surprised Manga News, though they still appreciated the handling of their wedding ceremony, which gave the narrative a lighter tone for a famously dark series. [93] Manga Sanctuary agreed, finding Thorfinn to live up to his father's legacy during his quest while finding his newfound family appealing, not only including his wife Gudrid, but also his adopted son who often defends him. [94][95] In regards to the art, Silverman initially felt it was "a bit generic shounen",[87] but praised the improvement of the art during the Slave arc. [96] The panel composition, realistically barbaric violence, and attention to detail in constructing the setting were highlighted and compared with those found in Kentaro Miura's long-running series Berserk.