![]() ![]() In case you didn’t get this message through the cinematography of the series itself, Made in Abyss: Golden City of the Scorching Sun‘s opening also places these two stories together, merging them as both groups make their way through the Abyss with 2,000 years between them. As viewers, we know that the actions of Vueko’s group were likely instrumental in what eventually became Orth, a busy city that grew up around the edge of the Abyss’ first layer. Made in Abyss’ second season begins with a sort of chronological bookending, placing Riko’s imminent arrival at The Capital of the Unreturned side-by-side with the journey of Vueko arriving at the same location 2,000 years in the past. Posted in Editorials/Essays, Made in Abyss and tagged faputa, kou yoshinari, lyza the annihilator, Made in Abyss, made in abyss 2, made in abyss movie, made in abyss season 2, made in abyss: dawn of the deep soul, made in abyss: fukaki tamashii no reimei, made in abyss: retsujitsu no ougonkyou, made in abyss: the golden city of scorching sun, majikaja, reg, riko on Jby ajthefourth.ġ Comment Visual bookending from Made in Abyss to The Golden City of the Scorching Sun In a series that plays with as many horror tropes as Made in Abyss does - delving deeper and deeper into them the further Riko and Reg travel in the Abyss - the awkwardness of the monsters only added to the unsettling menace of the Abyss itself. This trend continued for all monsters of the Abyss throughout Made in Abyss’ first season. The splitjaw moves differently and is animated in a way that makes it seem otherworldly and bizarre. Kou Yoshinari’s monster designs in Made in Abyss were visibly meant to be different than the humans of Orth and the Abyss from the first moment that a crimson splitjaw chased down Riko in the series’ premiere. Although there’s a more obvious and direct through line from The Witch From Mercury to Utena in series composer Ichiro Okouchi, who wrote the Utena light novels, whether The Witch From Mercury will deliver something anywhere near as incisive or fun as Utena, will rely on Kobayashi’s direction. ![]() This time it’s Hiroshi Kobayashi and his take on the Gundam franchise, Mobile Suit Gundam: The Witch From Mercury. ![]() (Not-so-coincidentally, the Revue is a major influence on a lot of other media properties in Japan and an obvious visual and structural inspiration for Ikuhara as a director.) Last year there was Shin Wakabayashi’s Wonder Egg Priority which started well and ended catastrophically. The excellent Shoujo Kageki Revue Starlight helmed by Tomohiro Furukawa was pitched to me this way and deftly managed to be a love letter to and incisive criticism towards the Takarazuka Revue. I’ve avoided writing about Utena directly many times for fear of not having something “good enough to say” given how many wonderful analyses there are of its characters, visuals, and thematic elements. There are a few specific things you can say to me that will make me check out an anime faster than “This draws from Kunihiko Ikuhara’s Revolutionary Girl Utena.” Utena is a series that I hold close to my heart in a way that has actually been detrimental to doing any sort of public analysis. ![]()
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