Review by Karl Verhoven

For a third consecutive volume the story of Kojirō growing up supplants all mention of previous leading character Miyamoto Musashi, but the essence of Takehiko Inoue’s plot is laid out in the opening chapter. Now a teen, so older than in Vol. 15,  the deaf Kojirō has learned to be a skilful swordsman simply through observing his surrogate father Kanemaki Jisai, who refuses to teach him because he now regrets the cost of being a master of the sword. Kojirō, meanwhile has been passing on what he’s learned to others.

Inoue’s artistic skill is manifest in that opening chapter. It’s virtually wordless, so the emotional turmoil has to come from illustration, and every nuance is understood. It’s intended that the pages of Vagabond turn quickly, yet Inoue never slackens off. Every page is thoughtfully composed, the people are distinctively designed and the technique is astounding. Any volume of Vagabond could be handed out as a textbook detailing how to tell a story with pictures.

Kanemaki’s conflict is brought to head by a visit from a former pupil. The community where he lives is remote enough to avoid the actuality of a civil war, but not so remote there’s no news of it, and the villagers have assorted opinions. Being deaf, Kojirō doesn’t hear them, but he is aware of something going on, and seems the equal of the provocative former pupil. “A tiger should be allowed to live as a tiger and to die as one as well”, is their assertion.

By the end Kanemaki’s worst fears have been realised, and Kojirō has become aware of just how skilled he’s become while practising in isolation. The events continue in Vol. 17, or pick up the sixth VizBig edition in which they’re combined. Whatever the format this is masterful.