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C’est par ce surcroît de réalisme qu’il crée la poésie[19]. » Pour Télérama, Bernard Génin écrit : « Avec une histoire toute simple — un petit garçon veille sur sa sœur malade — Takahata éblouit[19]. » Dans Le Figaro, on lit en 1996 : « Le Tombeau des lucioles n’épargne pas le spectateur. Ce pourrait être un dessin animé pour adultes tant certaines scènes sont dures[19]. » Pour Le Monde, « En dépit d’une pente mélodramatique que le réalisateur ne sait pas toujours éviter, on ne peut qu’être impressionné par un sens du récit et de l’observation (.[95] The series was nominated for a Harvey Award in the Best Manga category in 2019. [96] Critical reception[edit] Ian Wolf from Anime UK News praised the first two volumes of the series, giving them 8 out of 10, and stated "One's art is notable for a few reasons. The art is designed to be humorous rather than stylish. Part of the comedy value in One's work is the rough styling that adds to the scenarios he creates. In this second volume of Mob Psycho 100, it is the action which is the main focus. There is some comedy thrown into the mix as well, but mainly this time it is about the battle between the two psychics and their different philosophies. It is also interesting to witness this fight because it is one in which one of the participants is trying their hardest not to fight, while the other is giving it all they've got. Having said this, there is still some comedy added to the heat of the battle, the main highlight being when Teru tries to use knives to beat Mob, but Mob deflects one of the knives away, accidentally cutting off a massive chunk of Teru's hair. It is at times like this where One's art style can sometimes fall down. His rough artwork does lead neatly to the chaotic scenes he is trying to depict at the height of the fight but when it comes to the more dramatic moments, the rough style lacks pathos. Here, the anime has the edge when it depicts the fight because other elements such as the music or the use of colour can add to the tension".
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