From Horrific Fantasy To Political Intrigue?

Whether you’re an anime enthusiast or someone who just keeps a tab on anything popular that a large mass of people are currently watching, the name of Shingeki no Kyojin, or Attack On Titan to make it accessible for everyone, is a Japanese animated show that must have come to your attention in one way or the other. Why? Well, much to the same degree as a lot of high-profile and well-received live-action shows in the forms The Walking Dead or Game of Thrones, Studio Wit’s popular series inhabits a rather likeable aspect that audiences have come to grasp; characterisation. Amongst the aforesaid shows gruesome and Goya-esque monsters in the form of the titans and the inevitable fluid action that comes along with these entities, what’s become more appealing to the devotee’s that have followed Attack On Titan from its inception are the characters and how they’re relationships with one another intriguingly change through contextual development. This is certainly prevalent in the shows latest escapade in its 3rd season, where we’re introduced to a new 12 episode format that subtly changes its dramatic emphasis in a beguiling and necessary manner. However, with there still being so much mysticism and un-answered questions yet to be resolved in relation to the titans and the bunker that supposedly holds secrets that the central characters need to know, does Attack On Titan still uphold a level of fascination that familiarised and new audiences can be interested by?…

Continuing on from the events that took place the last time, where Levi’s squad and the rest of the Survey Corps rescued Eren Yeager from the clutches of the Colossal and Armoured titan, Hange decides to experiment more on Eren following his recent development of controlling other titan’s and further developing his hardening ability to close-up Wall Maria. However, upon hearing that the government, along with the Military Police’s Fist Interior Squad, plan to overthrow the entirety of the Survey Corps and capture both Eren and Historia, Levi, Hange, Eren and the rest of his friends including Armin and Mikasa decide to act on this piece of information and set-up a coup d’État; a plan to overthrow the entire government itself and place Historia as the rightful heir to the throne. Yet, with this plan in motion, can the Survey Corps manage to fully execute this plan with other sinister forces in the form of Rod Reiss planning to eat Eren and take-away his titan powers?… 

As culpable as it is to perceive that much of Attack On Titan’s accessibility and intrigue has been sustained due to its seamless efforts in enveloping a world and context that has so much horror and action to behold, what’s palpable to notice in this latest season is how much it derives from its grandiose antics and presents a continuation that has a different emphasis. For sure, it can’t be said that there isn’t ANY fast-flowing action sequences that rather belittle a simple shōnen’s efforts in contriving a battle scene; especially in the second episode of this third season when the character of Levi is frantically running and swirling around the rooftops running away from the enigmatic Kenny. Yet, from the way in which the season starts and proceeds to focus on a more political aspect that provides a rather detailed outlook of a corrupt world, it’s as if the show inherently wants us to know that we’re about to watch a continuation that is subtly different than what’s already been displayed. This is certainly evident even from the season’s opening theme which disenfranchises the show’s own epic yet bombastic ‘call-to-arms’ intro music. Instead, we’re presented a rather colourful and vibrant introduction that would seem more fitting in your traditional Harem anime series. In no way is it supposed to energise its demographic before the episodes start, but simply and purposefully reminding its audience that the likes of Levi, Eren and his close friends of Armin and Mikasa that they’ve seen better days; as depicted when a younger version of the aforesaid friendly trio traverse their once home with such innocence and happiness. From a more contextual view however, this deviation also takes a intriguing diversion, but not in the same way. While there’s plenty of action to be seen from the ‘protagonists’ of the show, and the likes of Levi, Hange and Erwin overthrowing a corrupt and false government/monarchy, It has to be said the amount of times a titan shows-up in this third season is considerably less than the preceding ventures. With much of the emphasis of the hero characters focusing on a different type of enemy, it’s palpable to perceive how many few titans that actually show-up in this new twelve episode structure. Much of what we see is a context that’s more inline with a conspiracy thriller, rather than an action fantasy; which is certainly a bold-choice to say the least. The reason as to why this contextual and thematical shift seems so daring from a high-octane anime such as this, is because many who were watching Attack On Titan from its inception were sold on its initial premise of humanity coming to terms and fending-off against otherworldly human-eating beasts and not a premise which delves into the politically complicated nature of their society. Yes, there have been episodes which rather highlight the world in which Eren lives in and how class are divided between different walls. Yet, To focus on a plot-line which strictly deviates from one of the more potent aspects that audiences and devotee’s adored, is simply striking. However, it’s because of this contextual choice that makes Attack On Titan a rewarding watch. As lavish and abstract as the action sequences this show has demonstrated, especially in the last season where we were presented with Eren’s titan form going-up against the armoured titan, it feels decisive that this popular animated show explores its world and many secrets since the majority of these have only been referenced and not looked at in great depth. Whether it’s Historia’s connection to the throne, Eren’s father’s revelation of experimentation, Erwin’s plaguing questions on the government or Levi’s relationship with Kenny, we’re finally presented with already-discussed revelations about characters and situations that feel appropriate to see and inherently adds to an established world where we finally contended with character morality. It’s a testament to the show’s own methodical pacing that they manage to fill as much information in at they do without the story being overwhelming. Despite the times where you might have to ask yourself which character’s who, it’s Attack On Titan’s credit that it manages to change the entire dynamic of its story as characters and scenarios occur. In similar vein to how Game of Thrones started as a gritty and grounded show about political elements that slowly introduced more graphic and magical elements, Attack On Titan started as as a brutal fantasy show about giant monsters, yet this latest season introduced enough back-story and political intrigue to make us question who the real monster is. If there’s one criticism to be mentioned, it would a myriad of times when scenes and episodes are cut-down rather frantically. Too often the episodes uses its fair share of flash-backs and flash-forwards which rather stagnates the flow of events that you’re trying to follow.  

Beyond it’s fantastical way of building its enriching world by focusing on a different perspective entirely, it’s equally pleasing to notice how Attack On Titan steadily improves on its characterisation by focusing on its own vast cast; rather than Eren Yeager who rather started the story. Despite the fact that this time around the focus on Eren is greatly reduced in comparison to preceding episodes, what’s equally as pleasing to see as well as the show’s ambitious yet successful attempt of focusing its context on societal and political aspects is the emphasis of other characters; whether it’s answering proposed mysteries that have never had a revelation or history between two individuals. From the mass episodes that culminate Attack On Titan, audiences who’ve been keeping along with the story already know fully-well Eren’s background and the mannerisms he displays whenever a certain situation arises and much of his progression in the second season felt rather thread-bear when other characters such as Ymir’s internal struggles of hiding her titan abilities or Reiner and Berthholdt revealing that their the titan’s the Survey Corps had been looking for all along. The fact that season three primarily elaborates more other characters’ struggles is more rewarding to see since the large cast compliments the show’s now-fixation on the social aspects that make-up this enigmatic world. Even the introduction of a few new characters, most notably Rod Reiss who’s very presence reveals answers about Eren’s father’s experimental damnation and Historia’s complicated past, feel appropriate to see and not progression on the same characters who’ve had their time in the animated spotlight.   

As it was viscerally executed in the preceding season, this latest season of Attack On Titan once again utilises an animation style that is not only eye-popping in relation the said show’s moments of terrific action and choreography, but also subtly distinctive in the way in which we can clearly see the harsh-bold black outlines of the characters and the drawn marks that come from every motion. Indeed, every character that is shown once again and introduced to the contextual fray are vividly outlined with various thickness’s of black drawn-marks which coherently separates them from the expressive backdrops; further imbuing this sense that you’re not only watching something that is a manifestation of manga. Despite the obviously fantastical nature of Attack On Titan showcasing monsters in the form of titans that often strike a good balance of being either eerily unsettling or stupidly hysterical to perceive, what’s always been apparent that Tetsurō Araki has always tried to implement, even with his other projects of Death Noteand High School of the Dead, is this element of verisimilitude; a realism which is not only seen through the seriousness of the context, but also the physical actions that a certain characters does. Whether it’s a simple facial expression of a character looking horrified of something (which is more than likely to happen in every episode of this whole series) or one of the members of the Survey Squad swirling through the air as if they’re Spider-Man, Araki rather finds the right balance in amalgamating the fantastical with the real to create something which audiences can become invested in and relate to it from an animated stand-point. Truly, it’s not surprising to fathom how much this show revels in having stunning visuals and lush-fighting sequences mixed-in with the melodramatic nuance of character interaction and re-action of horrifying scenarios and it’s this distinctive blend that makes the show’s animation rather ensnaring; even compared to the explosive moments of My Hero Academia or the expressions used in Kakegurui. Like with most anime’s of this day-and-age however, if there’s one aspect that is slightly off-putting to gaze upon in viewing the show’s animation style, it’s the sparing and reluctant implementation of 3-D/polygons that are harshly threaded within the hand-drawn affects. As much as it’s a necessity for the animators creating the show, since it costs considerably less than traditional cell animation, it can’t be helped to mention how much of an annoyance it is since it distracts your gaze from the show’s interesting art/backdrop style. The very application of using this CG effect tarnishes the drawn efforts and never once synchronises with the expressionate markings.    

It has to be said that for those audiences who crave anime as a form of entertainment that they constantly consume, like everyone else who gradually watches their latest T.V. series, it’s indeed a good time for those who enjoy watching Japanese animated shows and films of grand proportions. Whether your into the widely-accepted My Hero Academia or something more ‘art-house’ like the fantastic Megalobox of last year, anime itself has never found a better footing in accompanying its range of shows to a diverse audience that are willing to watch it. As much as this show has been on the anime scene for years now, which is rather crazy to think about considering how many seasons it has from its inception, Attack On Titan still has those dedicated to the series wanting more from its episodes and exhibiting an animation style that’s still inviting. Going into this third season, one of he show’s biggest concerns that it had going for it was its delivery of displaying its longing, mysterious queries of characters and story-detail that were never truly answered in the preceding seasons. However, season three comes in for a treat for those wanting these answers since we’re presented with revelations of characters and secrets that have only ever been referenced or discussed in hushed dialogue entries. For sure, there was never a moment within Attack On Titan season three where I was disinterested and with this series breaking-up its next portion on a cliffhanger that had me personally creeped-out, I’m more invested into the story than I have ever been…

And on that note, it’s time for me to end this week’s Anime Review. As always everyone, thank you for reading my latest Anime Review of Attack On Titan: Season 3 (Part 1) and if anyone happens to have an opinion on either the show or my review, you’re more than welcome to share your thoughts down below. For next week, I will be going back to reviewing films and discussing M. Night Shyamalan’s Glass. With that said, thank you once again for reading my latest Blog entry and I hope you’re all having a nice week so far! Adieu! 😮😱😈⚔👾

★★★★☆ – Alex Rabbitte