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The film continuously tries to milk tears from the audience with a tragedy that constantly makes the worst decisions for its characters. It’s akin to piling tragic event on top of tragic event until we’re left with a mountain of depression, while my reaction moves from genuine sympathy to frustration and disappointment. We as viewers look at this film from the same perspective as Seita’s ghost, and while this does emphasize the meaning behind these moments, it essentially removes part of the deep emotion gained from the experience, causing the repetitive nature of these events to feel counterproductive. We see the storyline in full, from establishing its grieving tone to forcing Seita and Setsuko into the film’s personal martyrs. Their deaths, for our pity.Regardless of how closely the narrative revolves around these two characters, neither of the pair hold much intrigue outside of being victims.
[33] The twelfth and latest one was released on April 21, 2015. [34] Two art books for the series were released on October 23, 2006; Water containing the manga's colored art and new pieces, and Sumi (墨) containing the black and white art as well as early rough sketches. [35][36] Both were published in North America by Viz Media on September 16, 2008. [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.
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