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" Examples being its fictional nen ability, which is explained "so thoroughly
that you almost think it could exist," and the little challenges and games the
characters face; "Over and over Togashi invents some little closed system or rules just so the heroes can break them; if he ever wants to change careers, I'd suggest game designer. " Thompson praised the character art as great, pointing out how instead of alternating between realistic and chibi like other artists, Togashi has cartoony and realistic characters interacting in the same panels. Thompson did note how the artwork during its magazine run is often "sketchy" and missing backgrounds, but that Togashi goes back and fixes it for its collected tankōbon release. Mentioning Togashi's love of gore he stated "the whole manga is about the mixture of childish adventure and creepy, adult themes" and noted how some panels later in the manga are apparently censored for gore by being covered with screentone. [2] Reviewing the first story arc, Chris Sims of ComicsAlliance called Hunter × Hunter one of the most "fun, ridiculous, and ludicrously violent comics I've ever read. " He stated that while it has every idea about shōnen manga in force, what sticks out the most is the violence. Sims summed it up as "full of clever setups and characters that, while simple to the point of almost seeming one-dimensional at times, still manage to be solid and entertaining based on their reaction to the increasingly strange, increasingly deadly events around them". [171] Charles Solomon, a writer for The New York Times and Los Angeles Times, praised the moral seriousness of Gon, a quality that gives the protagonist "an appeal his relentlessly upbeat counterparts lack". [172][173] Publishers Weekly gave a positive review to the first volume of the manga, stating that Togashi "shows a deft touch" with its standard story, calling his artwork "clear and graceful", and mentioning that his characters are "endearing and complex". [174] While Rika Takahashi of EX. org and Claude J.
The duo’s dynamic is in my opinion, the best part of the anime, as it brings forth such
contagious eccentricity and energy that sucks you into the world around them.
Another main positive about this show was definitely the directing prowess of Shinichi Omata, who previously directed Kaguya-sama: Love is War, and Showa Genroku Rakugo Shinjuu, coming into play once again. The whole show feels like a stage play, with the characters feeling like actors, the dialogue bouncing off each character with such ease, the general flow of the story
just so fantastic. The art and animation itself isn’t particularly pretty, and I suspect the budget for this show wasn’t huge at all, but Omata’s directing really elevated the show’s quality to greater heights, as there’s just a distinct uniqueness about how the show looks. The camera work and the storyboarding really embodied a style that felt “extravagant”, suiting the show’s setting very well. Furthermore, it has a sense of rakugo in it, and you can tell that Omata’s previous directing endeavours helped shape the way this show was directed as well.
Anime
News Network. Archived from the original on May 7, 2010.
Retrieved September 15, 2010. ^ Majeski, Mike (September 30, 2003). "Yu Yu Hakusho 43 & 44 - The Edit List". Anime News Network.
