| Overall |
10 |
| Story |
10 |
| Animation |
10 |
| Sound |
10 |
| Character |
10 |
| Enjoyment |
10 |
"He who fights with monsters might take care lest he thereby become a monster." - Friedrich Nietzsche
This is, unequivocally, the zenith of artistic innovation, within the WIT Studio oeuvre.
Most notable is the avant-garde, boundary-pushing approach to art direction taken within this film. The faux-Playstation era three-dimensional graphics are ostensibly, the most apropos style of art direction with which to convey the emotional turmoils of the Shingeki no Kyojin franchise.
In composition, the film evokes the nature of a studio at the top of its game; this magnum opus of the Shingeki no Kyojin universe is so masterful and effortless in craft, as to prostrate all mortal
studios in reverent admiration.
The work is liberally peppered with Nietzschean philosophy, an option taken to separate the wheat from the chaff, as it were.
Worshippers of such malignant anime "studios" as Bones and Shaft will find their desires far underrepresented in this production.
Eren Yeager, the very embodiment of the hapless everyman, finds himself in his element within a fable as immaculately constructed as to rival the great tragedies of Shakespeare and Euripides.
The nuances of mortal folly are scrutinised in such grandiose and extensive profundity within the source material, establishing Isayama as the de facto ruler of the modern tragedy, a luminary status few mangaka are able to consummate. Such a deft display of the authorial craft demands a studio truly worthy of the undertaking of adapting a piece with such gravitas.
Exultantly, disciples of the hallowed works of studio WIT will find themselves met with no disappointment here. The adaptation herein conferred to our waiting hands is one of unparalleled calibre. An apt testimony to the aptitude of WIT's technique is found here, for any heretics who deign to doubt the ability.
To omit this wanton brandishment of utmost proficiency in the construction of the contemporary tragic fiction would be a grievous, heinous sin on par with the banishment of the first man and woman from the sacred garden of God Himself. The hell such doubters would be consigned to is surely a Gehenna only imagined in the works of Jean-Paul Sartre and John Milton. Although perhaps the more corpulent Hell is to hobnob with those who cannot fathom this most potent Art. In the unsurpassed words of the former auteur mentioned: "Hell is other people."
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