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.
The first season of
The Promised Neverland ends like this.
The ninth episode of
The Promised Neverland opens with the shot above — reminiscent of a triptych painting that can be folded in three. With this frame, episode director and storyboarder Hiroki Itai immediately grounds the episode and all events that follow. After a surreal eighth episode that set us off-balance with dutch angles, a spinning camera, and cuts that chop up two concurrent scenes, presenting them as a unit, paneling and more straightforward direction centers Episode 9. This episode stands alone with it’s visual strength, but also builds on what came before it with an ever-evolving in-universe camera.
Editorials/Essays, The Promised Neverland and tagged anime, 約束のネバーランド, emma, hiroki itai, masaomi andou, mawaru penguindrum, mom isabella, norman, ray, Scum's Wish, shouko nakamura, The Promised Neverland, yakusoku no neverland on .
March 9, 2019 1 Comment
Since the series’ second episode,
The Promised Neverland had settled into a pattern. Episode 8 broke that pattern, visually, aurally, and narratively.
Editorials/Essays, The Promised Neverland and tagged anime, 約ネバ, 約束のネバーランド, emma, mom isabella, norman, ray, sister krone, The Promised Neverland, yakusoku no neverland on .
March 5, 2019 3 Comments