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June 22, 2020. Archived from the original on January 9, 2021. Retrieved September 7, 2020. ^ 「新宿スワン」の和久井健が描くサスペンス「東京卍リベンジャーズ」開幕. Comic Natalie (in Japanese). Natasha, Inc. March 26, 2023. Archived from the original on March 26, 2023. Retrieved March 26, 2023. ^ Hodgkins, Crystalyn (July 7, 2023). "My Happy Marriage Gets OVA Bundled With 8th Novel Volume".

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His problems are more self-imposed than anything due to his tendency to be incredibly paranoid due to his fear of something that “might” be more powerful than him. And to make it worse, he just outright contradicts himself near the end of the show by risking his life in an unnecessary one-on-one combat due to his ego. Brilliant.
And to make it more brilliant, there really was no reason for the MMO backdrop at all- It's a completely unnecessary addition. The series could have worked just as well with Momonga being a genuine evil skeleton lich in a genuine fantasy world instead of “some guy trapped in a MMO world that became REAL. ” All this does, essentially, is to give an excuse for some parts of poor storytelling to exist, such as exposition dumps from Momonga based on his experience with the MMO, and floor guardians being completely, unquestionably loyal to him for no reason. The series never references back to the real world, so it might as well not exist- And since the audience has no idea about the said MMO, it only emphasizes the point about this just being a pointless hook, and a justification for awful storytelling that relies on the backwards idea of “Tell, don't show. ”
All the floor guardians and Momonga's lackies are uninteresting and flat- They have some interesting designs, especially the maids, but all their personality is about as interesting as a rock. First few episodes make it clear that they absolutely adore Momonga, and they spend their entire screen time thinking and/or talking about how great Momonga is. One of the worst examples is Albedo, who spends every moment of her screen time doing just all that. She never does anything outside of praising Momonga, whether he's in the same scene as her or not- Comparing this to Mahouka, she's basically this series' equivalent of Miyuki if Miyuki did absolutely nothing outside of praising Tatsuya, which makes Albedo far, far more annoying. 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. [45] The Fandom Post was drawn out by the writing of Inoue when reading the first manga volume, praising its large amount of content and whether or not Musashi is still capable of being a true warrior when interacting with the monk Takuan. [46] A similar comment was given by ComicBookBin with the reviewer claiming that his impression of Vagabond was so impressive that it reminded him of the comic book Batman: The Dark Knight Returns, praising the way Inoue portrays violence in a realistic fashion. [47] Another aspect praised by the same website was the lack of large amount of dialogue needed to describe the characters.