Profound Transition

While it seems as though the lauded anime series of Attack On Titan has been around for a rather long time, it’s uncanny really how the said Tetsurō Araki animated series only released six years ago – back in 2013; a year in which the Harlem Shake was a dance craze that made people do the craziest things. Indeed, respective of the likes of Kill la Kill or RWBY which for both received credible acclaim for their own visual styles, you can’t look past the arguable notion that Attack On Titan took over the anime scene to point in which it found a wider and vast mainstream appeal in it’s first season that no other Japanese animated show had ever really achieved. For sure, over time critically acclaimed series such as Cowboy Bebop and Fullmetal Alchemist: Brotherhood gained recognition to the point of those respective shows being considered to be the greatest anime’s of all time. However, with a show such as Attack On Titan which instantaneously attained a status which saw many people compare the series to the likes of Game of Thrones, it was unprecedented. Naturally, one would expect a show like this that is widely received to consistently produce and distribute more series on a consistent basis; a means where those who were infatuated by the likes of Eren Jaeger and his quest for titan vengeance could be instilled by the progression of the narrative. However, what ended up happening was that Attack On Titan just sort of stopped…Thanks to the original source material of the manga having to lay the ground work for Eren’s vengeful journey, it subsequently meant the anime counterpart had to be halted. It wasn’t until 2017 where the famed animated series returned for its second season where we got to see the continuation of Eren’s quest for unanswered questions and how the series bridged the anime medium to the mainstream. It’s arguable to state that anime, in this day-and-age, has become a much more accepted art form, due to production companies going further beyond in distributing concepts that are accepted and understandable, and I believe Attack On Titan is responsible for this. The franchise had, and still does, has the anime community in the palm of its hand and this is further shown in this latest season; a 12 episode structure that see’s the ‘norm’ of the show being changed once again. However, with there being this evident ‘change’, does this contextual metamorphosis deplete or further enrich the said show’s attractive entertainment value?…

Following the rise of Historia Reiss’s coronation to the throne and the complete overthrow of a false government, Eren, Mikasa, Armin and the rest of the Scout regiment now turn their attention in reclaiming Wall Maria; suspecting that the truth of their world lies in the Jaegar family basement. Upon arrival of the Shingashina District however, all that Eren and his friends notice is a Wall Maria that is completely devoid of any man-eating titans. Suspicious of this eerie quietness, Eren – along with the rest of the Scouts – inspect the wrecked remains only to find familiar adversaries in the forms of Reiner Braun, Bertholdt Hoover and the Beast Titan who ambush our protagonists. With the likes and Captain Levi engaging with the Beast Titan and Eren facing-off against Reiner once more, will the Scouts complete their mission in finding Grisha Jeager’s secrets? Or, will Eren discover a more harrowing truth; one which see’s the central character change his outlook on his own vindictive motivation?…

As tempting as it is to completely go into story information that does provide us with the answer’s that keen watchers of the show have been wanting to know ever since Attack On Titan’s inception, it would be equally indecent of me to do so; considering not everyone will have caught-up with this latest season and that revealing spoilers would be morally wrong. Having said this however, what’s palpable to note in reflection of this latest series is the show’s contextual aspect in still displaying a believable world that wholly feels unique and premeditated. Aside the obvious spectacle of the amazing action from the very beginning, which is perfectly complimented by the continuous/free-flowing movement of the lens which inherently conveys hasty motion and tension, what’s perceptible to fathom that Attack On Titan executes discreetly, without anyone giving it much attention, is its devotion in world-building; particularly seen in the first season. As much as the first few episodes of this anime’s existence hooks you instantaneously through its attentive and shocking beginnings of Eren’s innocent world changing into a life filled with vengeance, thanks to scary looking and goya-esque titans devouring the central character’s mother barbarously, what made Attack On Titan so engrossing to perceive, even to this day, was the manner in which it presented its unique premise and contextualised different social and political aspects of the world through it’s subtle use of mise en scène and exposition which isn’t blabbed-out unnecessarily. What’s made abundantly clear from the show’s narrative is that it’s never forced to oblige itself in dumping huge exposition dumps of dialogue and lore to lend to it’s credibility. Rather inherently, it’s through the stylisation and the acute attention to detail that gives the given world so much more life and made the viewing pleasure interesting to say the least. It remains consistently authentic throughout the pieces of lore that is enveloped and everything which is visually explained, mainly through the informative break-away’s that add to the show’s mythos, it all oddly makes sense. Everything, from the social-political structure, to the protocols and strategies of certain situations, to the religion in which the people in the walls abide by, to the sophisticated mechanics of how the ODN gear works – every aspect of the world seems to have been intricately crafted from it’s initial thinking. The way the story functions and develops seems like a logical product of the initial rules that is set and as the series goes on, and more aspects get explored, it’s easy to fathom how much these specific details make sense in relation to the world. This is a facet which is diligently put to effective use in this latest season, since appropriate moments of flashbacks and entire episodes of explanation further down the line contrasts well with the heightened acceleration of the expected action. Unlike in previous seasons where the marriage between the story and the action feels like a roller-coaster ride, in starting off slowly but hastens once something eventful happens to one of the characters, season 3 part 2 doesn’t hold back in immediately presenting us with an explosive opening that doesn’t once dissipate to it’s conclusive point. Even in the episodes where we’re viewing episodes of important information, specifically in this season with Grisha’s background and what the existence of the titans actually mean for Eren, Levi and the rest of the Scout Regiment, there’s enough drama and questions that are finally answered from previous where you’re invested in the events that are yet to come. Despite this latest season being different in relation to the narrative themes, with season 2 upholding an eerie sensibility whilst part one of season 3 boldly spotlights the politically complicated nature of the world’s society and monarchy, it’s dedication into thrusting our viewpoint into a hasty set of events, without needing to recap any points of tiring exposition whatsoever, is rewarding to see and is a testament to the writer’s awareness in not just simply providing audiences with the same linear pattern that is accustomed to so many different anime show’s blessed with multiple seasons. Indeed, it’s exemplary to the show’s own methodical, yet hasty way in displays it’s lavish and eye-popping action scenes, pacing that they manage to fill as much information as possible without the story feeling overbearing. There’s a credible balance to the structure in which certain events unfold and there’s a never a moment where you start to deviate and contemplate what this specific story detail will unravel. Everything that is revealed to the characters provides enough of a shock out of them that, in return, makes you more and more invested into the grandiose finale that lay bare.

With Part 2 rather taking all the best aspects that have come about from all of the seasons that make up Attack On Titan so far, in utilising the continuous action scenes that took place in season one and implementing the fluctuating character complexity perceived in both season two and three, what’s always anticipated in viewing this said anime is it’s animation style. As ever, the series is known for employing an eye-popping and visceral outlook that fully embroils the eerie and disturbing nature of the titans gruesomely devouring each and every human side-character that comes swinging-by. However, amongst it’s obviously grandiose lure of akining to the monster films and archetypes of old, like Godzilla and King Kong, what’s imperative to fathom in relation to Tetsurō Araki’s vision is that he wants us, the audience, to witness a concept which also upholds this sense of versimilitude; a realism which not is not only seen through the seriousness and ever-detailed moments of the context, but also the physical actions that a certain character enacts. Indeed, with every character drawn around in a thickness of black drawn-marks which makes these figures stand-out from the backgrounds, and further imbuing this sense that you’re not only watching that is a manifestation of manga, we’re presented with this distinctive amalgamation of the fantastical and the real through the very motion in which characters perform; whether it’s just a simple facial gesture or characters swinging about 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. What’s further pleasing to see is the minimal use of 3-D/polygons which, in the past, has damaged the viewing quality of some grandiose moments since it ultimately took you out of that tense atmosphere.

As prominent as Attack On Titan has been in cleverly intensifying the curious mysteries that covet the presented world, another aspect to praise the show for considerably is its recent persistence in giving its characters difficult narrative decisions which subsequently results into a foreboding consequence to every action and equates to an experience you rarely find in the anime of today. As cliche as this may come across, but it’s true when I say that Attack On Titan has every right to uphold an ‘edge of your’ seat experience. However, to simply say it’s a piece of animated work that leaves you clinging-on for more doesn’t neccearily do it justice to convey just how well it’s managed to build-up it’s now-realised characters and stakes that you go into every episode with a mix of fear, excitement and anticipation because you genuinely don’t know what’s going to happen next (unless you’re a real devotee of the manga). Indeed, to some degree, you watch with bated breath knowing not everyone is going to survive the onslaught that the Beast Titan provides in this latest season or the threat that both Reiner and Bertholdt furnish to likes of Eren’s squadron of friends. Like Game of Thrones, it’s not a matter of if, it’s a matter of who, when and how many. Now that we’ve a reached a point in the entire show when stakes are higher than ever, and you’re interest in the story evolves you’re experience into caring about the central characters and what decisions they’re going to make, every event, whether it be a small victory in battle or some character’s unfortunate demise, has tremendous weight behind it. Side characters no long feel like side characters, as seen from the likes of Floch Forster who puts forward his disdain for a tense-induced decision that results in a major character dying, and most of the rest that have been here since the show’s inception are knowing to the point where you know a decent amount of time with meaningful development. It’s the point now, for those who’ve been watching the show from the very beginning, that you’re invested, hopeful and gone through this long and arduous journey with them, and seeing everyone play this giant game of Russian Roulette every episode, brings the same squeaky-bum tension, gut-wrenching tension you find when England are in a penalty shoot-out in a World Cup Quarter-Final. Of course, this isn’t a live-sporting event, this is a pre-made animation. It brings an emotional weight that has never been reached before by the show, and is rarely reached at all by any live-action series of high standard. None of this would have been possible without the way the show has consistently evolved and built upon itself. It’s pleasing to see that the endgame of this story isn’t just surviving and desperate humans fighting mindless titans for survival, there’s an under-belly of eerie and curious mystery to the story proceedings that gives the aforesaid show s right to be called one of the better anime’s in recent years.

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. As outlandish as it may seem from my perspective that Tetsurō Araki’s adhered anime is considered to be one of the greatest of its art form, it does everything in its latest season that are near enough perfect. In amalgamating all its best known qualities from its preceding seasons, Part 2 top-trumps its rivals by inducing it’s audience to watch more of it’s ever-flowing character development and action set-pieces that never become stale in recognition. While I’ve never been disinterested in the story of Attack On Titan, it’s fair to perceive just how much many people have been put-off by it’s overwhelming seriousness and attention to detail. However, for it’s achieved recently, Part 2 can be an example of luring naysayers to a premise that doesn’t falter in quality. For what the story provides in its concluding moments of the season, I personally can’t wait to see how this anime series concludes and what lies ahead for its conflicting and complex characters…

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 2 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 reviewing Tarantino’s latest Once Upon a Time in Hollywood and seeing where it stacks-up compared to the directors previous works. 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! 😮😱😈⚔👾