Emma crosses a line in the second episode of The Promised Neverland‘s second season. It’s something that, thinking back on the trajectory of the series, seems inevitable, but is particularly striking due to the series’ consistent visual direction.
As an aside, these posts on The Promised Neverland are probably going to be more cinematography-based liner notes, and shorter than, say, Wonder Egg Priority in-depth posts.
This season’s latest critical darling, Shin Wakabayashi’s Wonder Egg Priority, has been described as, if Kunihiko Ikuhara (Revolutionary Girl Utena, Mawaru Penguindrum) and Naoko Yamada’s (A Silent Voice, Liz and the Blue Bird) respective animated series had a love child. This is a fairly apt description based on the first episode, and although many upon first hearing this will wonder what exactly that looks like and how two styles that seem fairly incongruous would go together, those styles do work and the result is Wonder Egg Priority.
If you want to be particularly meta about it, the result is the description comparing two existing directorial styles and the description is also the result. It’s something new, born of known visual languages.
A few weeks ago I pitched a podcast idea to a few friends. We would revisit an old anime to see if it was rewatchable or not and additionally, as one of the friends’ anime experience was and is fairly small, whether it was accessible to an uninformed audience.
This premise isn’t to be confused with the many wonderful anime podcasts out there that genuinely cover older, more vetted material like Anime Nostalgia (who just did a great recommendations episode on older manga) as a recommendation source. Instead, it’s more of a tangentially-related aside at specific genre pieces from the past ten to fifteen years.
My first suggestion was the 2007 Kyoto Animation adaptation of Lucky Star.