Reception
According to the German manga journal MangasZene, Aishiteruze Baby is drawn in a style typical of shōjo manga, with non-uniform panel layouts and frequent use of screentones. The reviewer praised the clean use of backgrounds, well-differentiated character designs, and Maki's handling of delicate issues such as the rival, Miki, and parental abandonment, while still keeping a comic tone. The same article described anime adaption as one of the shōjo anime highlights of 2004. The reviewer criticized the art of the anime adaptation as not as successful as the manga, being done in a simpler style, but praised the Japanese voice actors as well as mood-setting of the opening song, "Sunny Side Up."
A reviewer at T.H.E.M. Anime Reviews praised the anime as "a touching and heartfelt shōjo drama," giving it 5 out of 5 stars. The reviewer cited the character of Yuzuyu as part of the success, as "a kid who actually acts like a kid and not like a little adult." The reviewer noted that the animation was "somewhat low-budget," and that the character designs only somewhat resemble the Maki's designs in the original manga.
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Famous quotes containing the word reception:
“I gave a speech in Omaha. After the speech I went to a reception elsewhere in town. A sweet old lady came up to me, put her gloved hand in mine, and said, “I hear you spoke here tonight.” “Oh, it was nothing,” I replied modestly. “Yes,” the little old lady nodded, “that’s what I heard.””
—Gerald R. Ford (b. 1913)
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)