Damn, this was a fantastic episode, and, aside from, perhaps, the fourth, it was definitely the best, as it developed the larger narrative far more extensively than the majority of the previous episodes. There was a compelling tension that permeated throughout the entire episode, illustrating a tonal restraint that was understandably lacking in the previous episode. A symbolically profound visual sort of storytelling occurred throughout much of the episode, which terrifically complemented the foreboding atmosphere. The pacing was greatly deliberate, gradually developing and consequently unraveling a cascading sequence of intriguing events, while never faltering into an uninteresting monotony.
The narrative is quite intricately woven, broadening and elaborating on a plethora of seemingly insignificant, but deftly foreshadowed and eventually meaningful developments. As such, the secretive machinations of their strictly regulated society are gradually illuminated through a highly effective precision, since, though occasionally expected, these moments of detailed elaboration corrode the veneer of a peaceful existence, slowly exposing the terribly fractured structure of their world, essentially illustrating an immensely powerful and emotionally evocative decay of perception. As such, one of the best, most intriguing sequences was Maria's thoroughly revealing recollections, as she, along with Mamoru, momentarily glimpsed a select few of the Ethics Committee, consequently overhearing that they're intending to force one of the tainted cats into confronting Shun before he fully becomes a Karma Demon.
Shun's transition into a Karma Demon was, I feel, excellently foreshadowed throughout the show or, at the very least, his characterization was suffused with an abundance of vague, but intriguing allusions to a mysterious, darkened edge of his character and the potential development that involves his personality deteriorating into a more calculating and cruel version of his present self. These filtered nuances draw a noticeable, but partially contrasting parallel to Maria's slowly developing characterization. It seems quite likely that if Shun does, in fact, die, such an emotionally devastating development would slightly alter Saki's character, which would be an intriguing evolution to explore. A Holy Barrier suddenly appeared around Pinewind, preventing the escape of whatever monstrous entity it harbors within and imposing an accepted restriction from Saki and Satoru entering; this is the first sign that directly alludes to the possibility and increased likelihood that Shun is becoming a Karma Demon, essentially recalling a parallel between his current situation and the ritualistic tale he once recited that comprehensively depicted the descent into a Karma Demon.
My favorite sequence was the dinner scene between Saki and her parents, as it contained a thorough amount of meaningful character and story development, illuminated by an unsettling tranquility. The tedious, comparatively mundane conversation between Saki's parents greatly emphasized the dichotomy between their complacent uniformity and the temporarily dormant rebellious turmoil that had re-awoken within Saki's mind ever since Shun disappeared. These trite matters culminated with Saki's break of silence and subsequent outburst. The immediate transition from Saki's calm contemplation to their shocked expressions upon hearing the utterance of Shun's name was highly effective. The unexpected reveal and subsequent realization of Saki's lost, forgotten sister was handled incredibly well, as a heightened, but unwanted, knowledge is illustrated by the brightness of her earlier memory and the subdued, detached colors that cloud her surroundings as she fully becomes aware of this unforeseen truth.
Saki was fantastic throughout this entire episode, displaying an insightful and sympathetic breadth of complex emotions, since her motivations are very deftly illustrated, as her love for Shun is compelling her to act in a marginally more rebellious fashion than she normally would. Saki's highly interesting, layered characterization heavily contributes to her increasingly heightened and gradually developed role as a truly fascinating character, since the nature of her complicated characterization has never been fully divulged, but due to recent developments and her emotional attachment to Shun, it has been explored far more than in episodes past. Saki lacks a certain naivety that all others, save for Shun, have willingly constructed within the smallest cracks of their perpetually obedient, generally respectful facades, since the others seem to be distinctly aware of the disquieting dread that infects their secluded, potentially diseased society, but they, along with most others, attempts to dismiss it. Aside from Shun perhaps, she has definitely appeared to be the most perceptive, particularly in how rightfully distrustful she has become of others, as displayed by her inability to blindly adhere to the monk's every words in the fourth episode and her refusal to believe the explanations, or lack thereof, that were given by her parents and, in effect, the Ethics Committee.
Maria and Mamoru, though temporarily inconsequential, seem very likely, particularly Maria, to considerably influence approaching events. As such, though not particularly subtle, I really liked the shot that incorporated a visual contrast between the foreshadowed eventualities of Maria and Mamoru's existence, as they sit next to one another on a bench; the sunlight reaches Mamoru's face, while Maria remains shrouded in darkness, perhaps foretelling of the potentially catastrophic events that will be ignited by Maria's involvement, as mentioned towards the end of the second episode.
The music was exceptionally well-implemented throughout the entire episode, accompanying each scene with a particular emotional weight. The altered orchestral chant is brilliant, particularly in it's usage throughout the opening to this episode, as it thoroughly established the unsettling atmosphere that would pervade through the rest of the episode. The selection used during the dinner scene evoked a wistful melancholy that really accentuated the myriad of deeply painful emotions that had surfaced during this moment. The sound direction was extremely impressive, particularly notable throughout the final scene, in which the silence of Saki's threatening excursion into the heart of the forest is pierced with the cries of numerous beastly terrors.
The confident, visually creative direction complemented the methodical, disturbing nature of this episode wonderfully, displaying an especially effective restraint in the construction of many integral moments, such as the final scene, in which another wild animal is revealed, as well as a necessary proficiency towards the framing of momentous moments, such as Maria's revelatory conversation with Saki. There was an abundance of cuts to black that were filtered into the episode, but, unlike the latter half of the seventh episode, they were used really well throughout, rarely distracting from any particular moment, but rather heightening the effect of several shocking developments.
A very nicely directed scene was that which involved Maria's silhouette appearing at Saki's window immediately following the remembrance of her sister. The transition was eerily effective. One of the final shots, in which Saki's shadow, ablaze beneath the light of her torch, looms against the withered tress, was beautifully constructed. Another impressive directorial touch was the moment Saki remembered her first meeting with Shun, and the oddly-shaped tree that was supplanted behind his family, as the partial destruction of this tree and the house that once possessed it indicates that his village was decimated. I felt that the isolation of her sharp inhale worked quite well.
Unfortunately, Yamauchi is returning for the next episode, which hopefully won't be similarly plagued with an absence of narrative cohesion, as his uniquely expressionistic approach to storytelling definitely hasn't proved suitable for the duration of an entire episode. Considering the seeming importance of the next episode and the potentially important developments within, I remain quite wary at the prospect of his second attempt towards carefully handling an entire episode. However, despite the questionable nature of his directorial style, I'm really looking forward to the surrealistic visuals that typically accompany his direction, since episode 5 was rather atmospheric and strikingly beautiful.
All in all, though the last two episodes were quite good, From the New World excels with this one, effectively reestablishing the brilliantly ominous atmosphere and the immensely compelling elements of the story. The masterful, meticulous construction of the narrative continues to be the most essential strength of the show, which is a testament to how very well-written and impressively directed the story, for the most part, has been. There have certainly been several instances in which the narrative execution has considerably diminished, but these moments of disappointing inconsistency and a slight tonal dissonance have been remarkably rare. The excellent cliffhanger was a terrific note to conclude the episode on. The preview, though potentially misdirection, appears to suggest that Shun's death is quite imminent, which would be unfortunate, but I've loved his development so far, so it will be interesting to see what occurs, and whether or not Saki will be able to save him. |