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[113] According to a survey conducted in 2007 by the Ministry of culture of Japan, occupies the tenth place among the best manga of all time. [114] It also received several nominations such as Best Manga at the 2006 American Anime Awards,[115][116] the 2007 Tezuka Osamu Cultural Prize,[117] an Official Selection at Angoulême International Comics Festival 2008,[118] and Obata was nominated for Best Penciller/Inker at the 2008 Eisner Awards. [119] In 2007, the first three volumes of Death Note were on the American Library Association's 2007 Great Graphic Novels for Teens Top Ten list. [120] Douglas Wolk of Salon said that a rumor circulated stating that the creators intended to create Death Note to last half as long as its actual run and Ohba and Obata had been persuaded to lengthen the storyline when Death Note's popularity increased, noting that the rumor "makes sense, since about halfway through the series, there's a point that seems like a natural ending". In addition, he said that fans wrote "thousands" of Death Note fan fiction stories and posted them on the internet. [121] In 2006, Japanese fans pointed out the similarities between Death Note and the 1973 one-shot manga The Miraculous Notebook (不思議な手帖) by Shigeru Mizuki.

His backstories are presented with washed-out colors, quiet background sound, and darkened backgrounds to highlight his depressed state of mind. The solid presentation makes his melodramatic past seem more interesting than it is. With Hori's help, he overcomes his trauma, depression, and isolation (rather quickly). Miyamura's most significant obstacle was his inability to say how he truly felt. Characters joke about it because they reference how stereotypical his behavior is. If your story makes fun of a genre cliche, then repeatedly uses it, you are not subverting anything. The story is aware it is annoying and it does not care.
Miyamura is a respectful guy; he's not possessive of Hori. He does everything she asks, and then some. When his friend Toru asked him for permission to date Hori, he said 'it's her choice' because he's a decent person. Most importantly, he had plausible reasons for falling in love with her.

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[37][38] Reception[edit] By December 2012, Vagabond had over 82 million copies in circulation worldwide. [39] Vagabond won the Grand Prize for manga at the fourth Japan Media Arts Festival in 2000. The following is an excerpt from the speech congratulating Takehiko Inoue: "From Toyotomi to Tokugawa. Musashi Miyamoto grew up amidst the turn of two great eras. Mr. 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. "[128] Fujimoto's art style has also been commended. Collins praised Fujimoto's penmanship, stating that the "thickly-sketched lines on individual characters and still moments convey the rough edges of [its] world. "[122] Dupree lauded the series' art style, stating: "as the Devil enemies of the story grow more powerful, his imagination for bizarre, abstract, and genuinely unsettling visual storytelling reaches heights I've never seen in a Jump series before. "[121] Beckett called the character designs and general linework "a bit generic at first glance," but that when "the carnage comes flooding in," the series "has a clarity of style and consistency of vision that can be wondrous to behold. "[120] McNeil said that the character designs, other than Pochita and Chainsaw Man, are "not memorable," but that the art "really shines for the creepy Devils, the action, and especially the gore. "[124] Regarding the devils' designs, Dacey wrote that some are "uninspired" and that the most memorable ones are "clearly designed to elicit an appreciative 'ewww'".