In light of the recent events in Bleach (up to ch. 352), this has been an interesting journey for Ichigo and his current form will probably have its consequences on his character and story. In a strange way, his monstrous appearance right now could be said to have resulted from his intense desire to protect his nakama and a whole ‘mountain-load of people’.

The need to rescue Rukia led to his training in the Shattered Shaft, which became the moment of his Hollow’s birth. Although Shirosaki’s presence wasn’t as menacingly prominent in the beginning, a few of Ichigo’s first lessons in the art of combat have surprisingly featured his Hollow. One could argue that Zangetsu taught him how to appreciate the zanpakuto (and I don’t disagree) but it doesn’t change the fact that it was Shirosaki who had to lay down the facts for him. Zangetsu taught him the Getsuga Tenshou but it was Shirosaki who unleashed the first Kuroi Getsuga Tenshou (later noted by Ulquiorra as being similar to a Cero), which became Ichigo’s signature release of raw force whenever he was in bankai. Even the idea of spinning the zanpakuto originated from Shirosaki.

The apparent imitation of his Hollow’s moves eventually progressed to an actual tapping into his Hollow powers after his training with the Vizards. And this was so that he could maintain his original self to prevent his friends, family, the people around him, etc from getting hurt, once again highlighting the protective nature in his being. The cessation in the development of Ichigo’s shinigami powers is most noticeable here. His bankai remained as it was when first revealed in the fight with Byakuya and the Getsuga Tenshou, his primary attack. This can very easily be explained by the fact that Zangetsu was no longer around and Shirosaki wasn’t going to simply become his new mentor. Although usage of the mask granted Ichigo with increased strength and power, it didn’t teach him any new fighting techniques since his Hollow was being suppressed, neither did it nurture a correct mindset for approaching a battle. If anything, the presence of his Hollow seemed to push him to aggression, ironic considering that he wanted to restrain his Hollow so that he could have full control of himself.

Ichigo went to Hueco Mundo with mixed focus. His desire to protect was attenuated with his desire to fight, and the environment of Hueco Mundo would only serve to strengthen the Hollow-like qualities of his being, both physically and mentally. Despite the gaping hole in his chest, Ichigo still stood up as always in response to a cry for help. However, this wasn’t the re-emergence of Shirosaki out to save his ass, this was Ichigo still spurred by his mantra to protect but without a heart, Ichigo, technically a soul in Hueco Mundo, has become a full-fledged Hollow. He was using Sonido instead of Shunpo, firing Ceros instead of Getsuga Tenshous and in ch. 352 throws his sword into Ishida’s abdomen. Never has Ichigo let go of his sword during a battle as long as there’s still an ounce of strength in his hands, but here he discards the last visible feature of his shinigami self.

Ichigo’s current form is almost like a morbid manifestation of his protective complex, the twisted result of his hunger for power to preserve all that is important to him. And I wonder where Kubo will take Ichigo from here.

Based on a well-acclaimed seinen manga, Blade of the Immortal follows Manji and Rin in the latter’s quest to eliminate Anotsu Kagehisa, leader of the Ittou-ryuu, to avenge her parents deaths. Manji is the samurai she has hired to protect her as well as aid in her revenge. Despite his appearances, Manji doesn’t die easily thanks to the kessen-chu, worms that effectively patch up his wounds and heal his body, which was given to him by Yaobikuni, an 800-year-old nun. It is through this nun that Rin meets with Manji who will have to face off with the many members of the Ittou-ryuu, who destroyed her parents.

Following the first arc of the manga, we are introduced to a host of characters, several being rather eccentric, during Manji and Rin’s journey. Although there aren’t any glaring deviations in storyline, the anime comes across as a little dull in its portrayals and uncompelling for the first 8 or so episodes. There’s a lack of momentum in the storytelling perhaps due to the editing and/or pacing and a couple of finer details on the characters were ignored for filler-ish additions. That said, the last few episodes do stand out and nicely reflect the spirit of the manga: the exploration of death and its consequences. Also interesting are Kagehisa’s views on the true path of a warrior and his appreciation for flexibility when improving oneself.

In general, Blade of the Immortal is well-animated but its plot might require some patience in the beginning. Personally I’m not fond of the music though it’s not distractingly bad. Worth a look, if you’ve time to spare.

Final rating: 7.2/10

Manga: Vagabond バガボンド
Mangaka: Inoue Takehiko 井上雄彦
Volumes: 21-27
Chapters: 180-242

This arc brings us back to Musashi and his appointed duel with Denshichirou. In a nutshell, the duel to finish the battle between the two fighters started several arcs ago ends in the annihilation of the entire Yoshioka school. One of the best things about Vagabond IMO is the lack of a true villain. Instead of good and evil characters, we have very human personalities who clash due circumstances of their differing principles.

Including the Yoshioka brothers, Musashi’s recent wins haven’t brought him any more happiness than doubt and uncertainty. As with Baiken, defeating Seijuro doesn’t grant him the kind of satisfaction that was last seen in his battle with Inshun. Despite killing the greatest swordsman in Kyoto, Musashi seems a little melancholy and maintains a low profile as he recovers in the residence of a famous sword sharpener, Honami Koetsu. (Incidentally, Sasaki Kojirou is also one of Honami’s guests during that time) Although he might not know of the reason behind Seijuro’s sudden attack, it’s obvious that the latter had no intention of dueling with Musashi. Seijuro was planning to finish off Musashi instantly with an attack from behind. It becomes very clear later on that Seijuro wanted to prevent Denshichirou from losing his life unnecessarily in a duel and thus tried to kill Musashi himself.

Seijuro’s death shakes the morale of the Yoshioka school and especially that of Denshichirou’s. Fearing for his master’s life, Ueda tries to arrange for Sasaki Kojirou to fight in Denshichirou’s place. As Matahachi has been using Kojirou’s name all along he’s unexpectedly swept into the situation along with the real Sasaki Kojirou. Unfortunately, the plan doesn’t work as they fail to communicate their intentions to Kojirou, furthermore, Denshichirou opposes the idea and exiles Ueda from the clan.

As the day of the duel approaches, Musashi and Kojirou have another interesting encounter in which the latter’s pure swordsmanship reminds Musashi of how he used to let the ’sword’ and his surroundings guide his skill before he was slowly misled possibly by the the issues he had with his father. There is a strange camaraderie between Musashi and Kojirou, reflective of their earlier encounter on the battlefield of Sekigahara.

On the day of the duel, Denshichirou is easily defeated and killed by Musashi. Denshichirou’s death nullifies Ueda’s exile, allowing him to return and become the new leader of the Yoshioka school as according to Denshichirou’s wishes. However, Ueda is dead-set on exacting vengeance, fueled by his anger and sadness, and decides to pitch all 70 members of the Yoshioka school against Musashi. At first, Musashi states that he will walk away from this fight, which Takuan sees as an act of generosity, however Musashi unexpectedly returns. Despite berating himself for being an idiot, his encounter with the Yoshioka was responsible for the series of events that followed after, which have strengthened him as a fighter along the way. In that respect, Musashi chose to honor the challenge put out by the Yoshioka as a gesture of gratitude.

Of course, Musashi never expected to have to really cut down all 70 men. His initial attack strategy was to target the higher ranking swordsmen to deter the others from fighting him. The fight with the Yoshioka is probably the most exhausting section of Vagabond to read and with good reason. By the end of the battle, Musashi’s experience was probably as harrowing as the feat of killing 70 men in one night.

Final rating: 9.3/10

Manga: Vagabond バガボンド
Mangaka: Inoue Takehiko 井上雄彦
Volumes: 14-20
Chapters: 128-179

The timeline of Vagabond moves back 17 years to focus on Musashi’s greatest opponent, Sasaki Kojirou. The arc opens with Kanemaki Jisai who finds a new reason to continue with what he believes to be a worthless life when he learns that his former student, Sasaki Sukeyasu, has entrusted his new born son, Kojirou, to him. As if guided by destiny, Kojirou survives the journey across the sea with a keepsake from his parents in the form of a long sword.

One of the major challenges Inoue has undertaken in his interpretation of Yoshikawa’s novel is the alteration of the Sasaki Kojirou character into someone who is deaf and mute. While this might seem a little contrived at first, Inoue’s excellent story-telling builds Kojirou into an incredibly enigmatic character as we have to mostly rely on his expressions to guess as to what he is feeling or thinking about. It also provides great development for the character of Jisai, once a great swordsman who has now ended up alone due to his fixation on his swordsmanship in his younger days. Jisai’s anxiety coupled with his attachment to young Kojirou generates sympathy as we are allowed to understand his own feelings resulting from the life that he had pre-Kojirou.

At a young age, Kojirou demonstrates an inherent talent for the sword and after seeing Kojirou’s misplaced enthusiasm for fighting in the bout with Fudo, Jisai refuses to teach him anything. Jisai is afraid that Kojirou would journey down a similar path to loneliness as he did. He does seem to be sheltering Kojirou a little too much but one can’t really fault him for being overprotective. He loves Kojirou so much as this person is the only one (or perhaps the first in a long time) to give him a sense of family. He doesn’t want to part from Kojirou but Itou Ittosai’s words forces him to acknowledge Kojirou’s potential. Incidentally, we see Denshichirou and Ueda again as the former wanted to learn from Ittosai. Instead, they were treated to the overwhelming albeit raw strength of Kojirou.

Eventually, Kojirou willingly goes off with Ittosai, picking up a traveling companion, Muso Gonnosuke, along the way. They stumble upon the battlefield of Sekigahara and briefly encounter a young Takezou among the survivors. It is the first meeting between the destined rivals and Ittosai likens them to two demons on the plains. Ittosai later abandons Kojirou to a group of refugee hunters on the account that this is the fastest way to make him grow as a warrior, to acquire survival skills and to essentially ‘become him [Ittosai]‘. Ittosai also believes that Kojirou will be a worthy opponent for him should the latter survive the ordeal.

It’s amazing how Inoue can compel the reader to invest in even the minor characters of an arc with sufficient details on their motivations while maintaining a realistic tone to their thoughts, such as the group of surviving soldiers trying to make their way to their lord in Osaka who have a fatal encounter with Kojirou.

I also have to mention the prominent use of brushwork as the manga progresses resulting in some of the most STUNNING artwork I’ve seen in any manga. The gorgeous brush strokes almost reflects on the poetic atmosphere in Vagabond. More than a manga, we are looking at a painting of emotions that define these men who live by the sword. Amazing.

Final rating: 9.5/10

Manga: Vagabond バガボンド
Mangaka: Inoue Takehiko 井上雄彦
Volumes: 11-13
Chapters: 105-127

Despite the certificate, Uncle Gon is highly skeptical of his nephew’s claim to be Sasaki Kojirou as he observes that Matahachi’s attitude hasn’t changed at all, making his sudden status as one of the ‘rising dragons’ highly suspicious. Unable to explain himself, Matahachi flees and, ironically, encounters the same swordsman who had challenged him to a duel in Osaka. As it turns out, the swordsman is on his way to challenge Shishido Baiken, master of the chain and sickle, and their brief exchange exposes Matahachi’s imposture.

As one would expect, Musashi also intends to challenge Shishido Baiken and has been nursing an injured foot along the way, as a result of stepping on a nail. The accident annoyed him and he realizes that he’s still rather preoccupied with becoming invincible. Musashi never fails to endear as the mangaka makes it very clear that for all his previous wins (and manly appearance), he’s still very young. His relentless desire to reach the summit is almost coupled with a tinge of childlike curiosity. He just wanted to see what was on top of the mountain.

Meanwhile, Matahachi is on the run again, this time from the aforementioned swordsman. Uncle Gon arrives to protect Matahachi but is killed by the swordsman’s companion as his nephew flees the area. During the chase, the pair encounters a girl with a chain and sickle, leading them to the residence of Shishido Baiken. Under the impression that the girl was Baiken, the swordsman duels with her. Soon the real Baiken returns and he effectively puts a hole through the swordsman’s head with the weight at the end of his chain. Matahachi, spotted hiding by the girl, is told to bury the bodies of the dead, including that of his uncle. The death of Uncle Gon saddens him considerably.

Musashi has also reached the territory, starving. He chances upon a kind, old lady who gives him something to eat. She also informs him that Baiken was nothing more than a bandit leader, however, after his ‘death’, swordsmen like Musashi started to show up around the territory. Puzzling as it seems to Musashi, he soon meets up with the person in question and it turns out that Baiken is none other than Tsujikaze Kohei, the younger brother of the bandit Tenma. Kohei recognizes Musashi as the Shinmen Takezou who took away his opportunity to kill Tenma but he doesn’t show any sign of hostility or hatred at Musashi. Baiken tells the girl living with him, Rindou, that Musashi is an old friend and obliges the latter with a duel.

Kohei has changed since the last time we saw him. As Musashi notes, his ‘twisted smile’ is gone, and there’s an obvious scar on his face. In a series of flashbacks we learn of Kohei’s past starting with a mother who tried to kill him by pushing him into a waterfall. The group of bandits led by Tsujikaze Tenma was after his mother’s life and they disposed of her before finding that her son survived the fall. Tenma immediately announced that Kohei was to be his brother, making him a member of the gang. Tenma treated Kohei with tenderness but it was not out of charity, rather, he lusted after and was possessive of the young boy. Kohei probably realized this after Tenma crushed his manhood in a fit of jealousy and felt that his life was no longer of any worth. Hence, he devoted it to the single purpose of killing Tenma only to have that purpose destroyed when Takezou killed Tenma.

Considering Kohei’s past, his connection with Rindou is intriguing and probably arises from the similarities in their upbringing. Just like how Tenma could not kill Kohei due their both having had mothers who tried to kill them, Kohei could not eliminate Rindou despite destroying Baiken and his bandits. Kohei’s assumption of the Shishido Baiken identity is never explained but perhaps in seeing a little of himself in Rindou, he comes to care about her in the way that the real Baiken (who could have been her father) should have. Kohei’s plead for his life after losing to Musashi stuns the latter but it also teaches him of a different type of ’strength’ and questions his own purpose in his quest to become invincible. Kohei is now free of the spiral of death and killing, after losing his pride and his final battle, however he had the strength to look beyond all of that and live to protect someone he cares about.

And finally, the man responsible for Kohei’s scar is revealed to be none other than Sasaki Kojirou.

Final rating: 8.8/10

Manga: Vagabond バガボンド
Mangaka: Inoue Takehiko 井上雄彦
Volumes: 8-11
Chapters: 77-104

Musashi continues on his journey to challenge the strongest and his new target is Yagyuu Sekishuusai, known to be an ‘invincible’ warrior. Meanwhile, Yoshioka Denshichirou has been constantly requesting for a duel with Sekishuusai to no avail and ultimately gives up on the wait. On his way back, he encounters Musashi, who has been granted an audience with the senior disciples of the Yagyuu thanks to his unique inquiry into the person who cut the peony he enclosed in his letter.

The meeting with the four senior disciples proceeds without incident at first despite Musashi’s attempts to provoke them into a fight, thinking that this was the only way he could get to Sekishuusai. However, it is Jotarou who inadvertently succeeds where Musashi failed. By Jotarou’s killing the Yagyuu’s pet dog, the members are antagonized into fighting Musashi, who states that he will take the ‘punishment’ for his own disciple.

Somewhat overwhelmed by the four senior disciples, Musashi loses them in a bamboo forest and comes to the cottage where Sekishuusai is resting. There, he has a brief reunion with Otsu before finally seeing Sekishuusai in the flesh. At this point of the story, I find Musashi very endearing. He is naive, is in love, is still haunted by the shadow of his father, all of which make him incredibly vulnerable and sensitive. He has so much more to learn and meeting Sekishuusai teaches him the meaning of being ‘invincible’. It’s interesting to see the parallels between Sekishuusai and Shinmen Munisai from Musashi’s point of view. Both were incredibly skilled fighters but Munisai’s glory was coupled with fear of others, including his own son, while Sekishuusai had a calm that was all-encompassing. Musashi was a little bewildered albeit overwhelmed by Sekishuusai’s presence and amusingly enough, decided that he liked this man.

Musashi also decides to leave Otsu and Jotarou in the care of the Yagyuu, believing he is incapable of giving them a sense of security as his life could end at any minute. Little does he know that Otsu and Jotarou are not willing to part from him and they set out to find him.

Meanwhile, Matahachi encounters Granny and Uncle Gon at a market while fleeing from a swordsman of 35 years who challenged him to a duel. Matahachi admits to his shameful actions for the past four years but still clings to the ‘Sasaki Kojiro’ identity, claiming to have mastered the sword well enough to be awarded a swordsmanship certificate. He is also informed by Granny that Takezou and Otsu have (supposedly) absconded, sparking disbelief and jealousy perhaps. Takezou does have an interesting effect on Matahachi; the former’s accomplishments almost always seem to motivate as well as fuel the feeling of inferiority in Matahachi.

Final rating: 8.7/10

The Pendulum arc has finally started, after that few episodes of pointless filler. Depicting the events in Soul Society 100 years ago, it is here that we will come to know of the vizards’ pasts starting with Urahara’s promotion to the captain of the 12th squad on Yoruichi’s recommendation. This occurs at a time that sees some major changes in the captains of the Gotei 13, including a promotion to the Zero Squad, the Royal Guard, which catches young Aizen’s attention.

It seems like Pierrot also stretched the episode by expanding Soifon’s disapproval of Urahara in the manga to the extent of having her follow him around town to take note of his activities, hoping to use it as evidence to convince Yoruichi of his misconduct. The latter, however, wrongly assumes that Soifon has developed a crush on Urahara. While it doesn’t detract from my overall enjoyment of the episode, I didn’t really find it as humorous as intended.

Manga: Vagabond バガボンド
Mangaka: Inoue Takehiko 井上雄彦
Volumes: 4-8
Chapters: 33-76

What a fantastic arc! Musashi and Takuan go their separate ways but not before the latter leaves the young swordsman with some food for thought, the idea of truly ’seeing’ which is revisited later in the arc. A young boy, Jotarou, has also decided for himself that he will learn the ways of a samurai from Musashi, and thus follows the latter to the Hozoin temple, famous for their spear technique. Gion Toji, however, reaches the temple before they do and proclaims that he will come everyday to fight/maim a monk until Miyamoto Musashi shows up.

After a short encounter with a mysterious old men en route, Musashi finally shows up the temple, defeats Agon and gets into a brief scuffle with Gion before Inshun, the second-generation master of Hozoin temple, joins the fray. Inshun chooses to fight Musashi, leaving Gion to observe the battle until he leaves halfway, apparently daunted and disheartened by the sheer genius of Inshun’s combat abilities.

The fight between Inshun and Musashi is a new experience for both men. For Inshun, this is the first time he is forced to fight with his life on the line. Although his natural talent has made him a physically skilled fighter, the lack of any real challenge or peers with abilities on par with his own has hindered the complete mastery of the technique. He lacked the soul of a fighter. In contrast, Musashi has always bared his soul in a fight. Every blow, every parry carried the strength of his life itself. There’s also something darker in him which has been serving as fail-safe should his skills be insufficient to beat his opponent, except that this doesn’t work with Inshun and Musashi flees from the fight.

Musashi winds up in the care of the old man they encountered earlier, who turns out to be Inei, the first-generation master of Hozoin temple. Musashi’s defeat and shame is crushing, furthermore the fear he experienced during the fight with Inshun has been deeply ingrained into every fiber of his being. With Inei’s help (Inei believes that Musashi is the rival that Inshun needs to completely master himself), Musashi begins to reanalyze his own methods and reasons for fighting. As he remembers Takuan’s words, he realizes that he has been so focused on himself that he could not see what was around him. However, I personally think that his emphasis on ’self’ can be attributed to his childhood days with his father. It seems like his father (unwittingly perhaps) instilled a deep-seated fear in young Takezou as well as a sense of inferiority and weakness, hence Musashi’s desire to be strong.

Musashi and Inshun have a rematch which ends in the former’s victory, having managed to overcome his fear of Inshun and gained the ability to see the battle from a broader perspective. Inshun’s horrific childhood is also revealed. Although he cannot consciously remember it, his trauma is the cause for his distant attitude, he has covered all of his memories and feelings with the mastering of the spear technique. Both men recuperate at the Hozoin temple after the fight. Musashi is also given a new set of robes and a pair of swords, looking more civilized than before. (I wonder if he’ll miss using a bokken.) Then, Inshun and Musashi part ways with a promise (to try) not to kill each other on their next meeting.

In a parallel storyline, we see Matahachi’s latest effort to better himself. An encounter with a man who showed compassion for Matahachi’s predicament would lead him first on a wild goose hunt, to deliver what he presumes is that man’s swordsmanship certificate to his family, before he finds himself in Osaka where he decides to make a name for himself by assuming the identity of the person to which the certificate belongs: Sasaki Kojirou. Very ironic, and it adds to the increasing contradistinction between the two friends.

Final rating:: 9.3/10

Manga: Vagabond バガボンド
Mangaka: Inoue Takehiko 井上雄彦
Volumes: 2-4
Chapters: 22-32

Miyamoto Musashi travels to Kyoto in his quest to challenge the strongest fighters in the country. As luck would have it, he very soon encounters the members of the renown Yoshioka dojo and decides to gauge his skills against this new set of opponents. Also appearing in this arc is Matahachi who has only been living a miserable life since running off with Oko, wallowing in his incompetency. The childhood friends would briefly ‘meet’ again in the most inconceivable of situations and this encounter motivates Matahachi to better himself.

The Yoshioka are an interesting bunch. They are not your usual ‘evil’ antagonists just because they fight against the hero of the story but have a somewhat grounded set of convictions that’s reflected in the way they fight. Yoshioka Seijuro, the head of the dojo, is a very carefree character and deemed unfit to be master of the Yoshioka school by his younger brother Denshichiro, due to his cavorting ways. However, Seijuro seems a little bit of a pacifist and would prefer to ‘defeat’ an opponent by a brief display of lethal moves to discourage his opponent from pursuing a fight.

Denshichiro, at first, appears resentful of his brother’s status but his displeasure also stems from a concern that the image of the Yoshioka be tarnished by his brother’s womanizing, and a childhood that saw a lack of appreciation in his efforts by his father. There’s also Gion Toji, who seems very loyal to Seijuro. When the Yoshioka dojo is burnt to the ground, he declares himself the assassin for the school and sets off to locate Musashi.

Matahachi’s presence provided some amusing scenes, especially when he was still oblivious to the fact that his ‘hero’ battling inside the dojo was his childhood friend. Inspired by his friend’s daring, Matahachi vows to straighten his act and even saves Musashi’s life when the latter staggers out of the burning school.

The artwork is, as one would expect, incredible. There’s an increase in the use of brush strokes, giving the panels a very unique style of antiquity.

Final rating: 8.1/10

Manga: Vagabond バガボンド
Mangaka: Inoue Takehiko 井上雄彦
Volumes: 1-2
Chapters: 1-21

Vagabond begins with the aftermath of the Battle of Sekigahara, introducing the person who will later become one of the most renowned swordsman in Japanese history. Two childhood friends, Shinmen Takezou and Honiden Matahachi, who left Sakushuu village to make a name themselves, find themselves survivors of the battle. Evading capture they are rescued by Oko and Akemi, who make a living by selling off the armor and weapons that they steal from dead soldiers. Trouble finds them in the form of the Tsujikaze gang and Takezou and Matahachi are forced to fight back.

Despite having experienced the battlefield, Takezou and Matahachi are vastly different in terms of character. Takezou is clearly the more skilled and ‘warrior-like’ between two, while Matahachi struggles with his own fears and cowardice when pushed to a fight. The latter also seems to regard his friend as a standard to measure himself against, resulting in something of an inferiority complex.

As the story moves back to their home village, we’re given more insight into Takezou’s reckless and murderous nature. Shunned by his parents, Takezou grew up wanting to be independent of anyone, although the pain of being ‘abandoned’ brought about a rage and hatred that created a demon in him who killed without thought. This brings him a considerable amount of trouble, seeing as how he was already a wanted man when he arrives at the village for killing two soldiers at the border.

When Aoki’s men fail to apprehend him, Otsu and Takuan set out to fulfill that task. Otsu, another childhood friend of Takezou’s, manages to disperse the demon in him. Knowing what it feels like to be abandoned, Takezou can probably feel Otsu’s sadness from Matahachi’s betrayal the most. Matahachi had decided to run off with Oko and did not return to the village.

With Takezou overcome by Otsu’s anguish, Takuan captures him and strings him up in a tree, forcing Takezou to reflect on what he has done. Takuan’s actions would open his eyes to the value of life, his own and of others. It wasn’t something so simple as living to kill and then be killed. I really enjoyed Takuan’s amiable yet sarcastic quips. And the kindness that he offers to Takezou would mark the latter’s first step into becoming the Miyamoto Musashi.

The artwork of Vagabond is absolutely amazing. The backgrounds have stunning detail and the characters beautifully drawn, creating an immensely lush and expressive atmosphere to support the story. Inoue’s art is just gorgeous.

Final rating: 8.3/10