is Short, Walk on Girl (2017) Lu Over the Wall (2017) Devilman Crybaby (2018) Ride Your Wave (2019) Super Shiro (2019-20) Keep Your Hands Off Eizouken! (2020) Japan Sinks: 2020 (2020) Japan Sinks: 2020 Theatrical Edition (2020) Inu-Oh (2021) Themes and creative sensibilities Yuasa's works have been described as emphasizing love, kindness, and acceptance. The importance of communication, self-expression, and the ability to reveal one's true feelings are themes that Yuasa has repeatedly expressed and highlighted as central to his works. Yuasa feels a particular affinity for intensely-felt love stories; in portrayals of sex and eroticism, he seeks to visualize the emotions his characters are experiencing, and to understand how their desires would be expressed. In depicting emotions, Yuasa's intent is to maintain realism and authenticity, but the visuals through which the emotions are represented can be expressionistic; moreover, it is Yuasa's view that characters who move freely and unrestrained by strict realism can express a greater and more faithful range of emotionality. Transformation is also a central and recurring motif, whether utilized for the frightening body horror of Kemonozume and Devilman: crybaby, the visualization of life cycles in Food Chain, the unexpected transformation of a dog into a superhero of Super Shiro, the magical shapeshifting of Lu Over the Wall, or the societal renewal of Japan Sinks: 2020''. Yuasa's male protagonists have been described as quintessentially aimless, hapless, and afraid to communicate honestly, but who are able to find their voice over the course of the story. While female characters in his earlier works received some criticism for not being as well developed, Yuasa's later works have received recognition for strong, independent female protagonists who are neither defined nor restricted by gender assumptions. Generational issues are also presented in Yuasa's works, with a recurring theme of young people utilizing acceptance and positivity to help the older generation overcome fears that have caused pain and discrimination in the past. A representative and humanistic identification with people marginalized by society, whether due to race, disability, gender identity, sexuality, or other reasons, runs throughout Yuasa's work. In telling a story, Yuasa has noted that he hopes to give the audience freedom to feel a variety of different ways about the work. He does not see it as his place to tell viewers how they must feel, but rather to maintain a space between his intent and the audience's interpretation that allows for