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03. [47] Another aspect praised by the same website was the lack of large amount of dialogue needed to describe the characters. [48] Peter Fobian of Crunchyroll commented that Slam Dunk's Hanamichi Sakuragi and Musashi are similar protagonists being young, egotistical prodigies, but that "Musashi is a force of nature. " He went to call Inoue's take on Musashi unique when compared to the ones often depicted in fiction. [49] Comic Book Resources praised the way Musashi addresses
Bushido, the Code of the Samurai, which makes him honorable. [50] The story arc where Musashi tries to take care of villagers as it retains the handling of Bushido but without relying on action and using other types of strength, was praised for retaining its pacing. [51][52] Japan Times regarded Musashi's growth from the ruthless warrior to a wise monk warrior to be well executed across the narrative. [53] While comparing the manga with the original novel, William Scott Wilson, the author of The Lone Samurai: The Life of Miyamoto Musashi, noted that the manga is darker and more mature; yet, although "extraordinarily well drawn", it is "no substitute for Yoshikawa Eiji's work". [54] Los Angeles Times regarded Vagabond as a "samurai masterpiece" for the contrast it makes with the novel by deepening the characterization of Musashi and alternate take on the rival Kojiro. Another aspect praised by Los Angeles Times was how the protagonist makes philosophy about strength and his goal as the arc of the Yoshioka where the main character kills 70 men ends with him retaining severe wound on his foot that weakens him and makes him question what is being invincible. [55]
According to Hobby Consolas, Vagabond deserves the praise it gets both in narrative and artwork theme.
[24] The first plot was a simple splatter/psycho-horror story about an idol girl that is attacked by a perverted fan who cannot tolerate her image change, and there were also many depictions of bleeding, so it was not suitable for Kon who does not like horror or idols. [18][19][24] Kon said that if he were free to make a plan, he would never have thought of such a setting. [24] This genre was overused, having already been dealt with in various works such as Se7en, Basic Instinct and The Silence of the Lambs and was also something that anime was not good at. [16][18][22] Since most of the works in that genre pursue how perverted or crazy the perpetrators, the murderers, are, Kon focused on "how the inner world of the protagonist, the victim, is broken by being targeted by the stalker" in order to outsmart the audience. [22] On the other hand, the play within a play, Double Bind, is more like a parody than a straight psycho-horror, and he made it with the intention of criticizing Japanese TV dramas that are easily made by imitating Hollywood fads immediately. [22] Kon decided to take on the role of director because he couldn't resist the allure of directing for the first time, and because the original author allowed him to change the story as he liked as long as he kept three things in mind to make the film work: the main character is a B-grade idol, she has a rabid fan (stalker), and it is a horror film.
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