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Hearst Magazines UK.
Archived from the original on 10 June 2015.
Retrieved 2 August 2013. ^ "The 1st International Emmy® Kids Awards Winners". International
Academy of Television
Arts & Sciences. Archived from the original on 1 April 2016. Retrieved 2 August 2013. ^ "Winners Of The 9th Annual Irish Film & Television Awards". Irish Film & Television Academy. Archived from the original on 21 January 2016. Retrieved 2 August 2013.
Meanwhile, there is a facility that is isolated from the rest of the world, which nurtures children in a very peaceful setting. It reminded me of The Promised Neverland in a way, with the Grace Field house. The two protagonists, Kiruko and Maru are seemingly looking for this place, which they call “Heaven”, and along the way they encounter many intriguing things, as tales on the inside of the nursery and outside get told. Themes around human nature, companionship, and the search for meaning can be seen in both settings, which made for great parallels and comparisons between both the children and the protagonists of the outside world. It was quite interesting seeing the stories of both the nursery and the outside world being told side by side with one another, not relying on info dumps or conventional flashback sequences to understand the lore of the world.
Not only is it very thought-provoking, it also looks and sounds incredible, with an audiovisual experience that always had me paying attention and sometimes on the edge of my seat. The directing is phenomenal in really setting the atmosphere and the eerie tone in the more important scenes, but also can change into a very light tone in more comedic scenes. The
backgrounds show us the backdrop of urban decay, rather than just flat out telling us. The soundtrack contributes to the atmosphere a lot too, as Kensuke Ushio, who composed music for anime like Chainsaw Man, A Silent Voice, and The Dangers in My Heart, did a great job yet again here to convey the occasional emotional gut punch, or to get us even more uncomfortable in a horrifying sequence. Everything about the production overall was at a very high level, and after seeing the staff behind it, I can see why. It was truly a legendary team of people producing a passion project from start to finish, with the art director Yuji Kaneko, numerous elite episode directors and storyboarders in Haruka Fujita, in which it’s her first work outside of Kyoto Animation, Kai Ikarashi, who worked on Cyberpunk: Edgerunners as well as the Turning Point episode of Mushoku Tensei, and also
Toshimasa Ishii, who directed 86: Eighty-Six.
In romance anime, in particular, you can be very clued into social subtext by keeping track of a character’s progression from san to kun to no honorifics at all. Again, the choice of honorifics tells you a lot about how one character feels about another. In One Piece, Nami always refers to Sanji as “Sanji-kun,” even though Sanji is technically one year older than her. This clues us into two insights: that Nami has a soft spot for Sanji, but also that she knows she can manipulate him to do what she wants, as if she were a senpai (see below!) and he were a younger boy. Chan Chan is kinda-sorta like the female version of kun, except that it’s cuter-feeling. It also can be a bit broader than kun, gender-wise, in
referring to any child or pet—specifically
because of that cuteness connotation.
