Second season
The second season of the animated series based on the creation of Guillermo del Toro manages to engage more than its predecessor, with a tremendous ending that concludes this animated story of giant robots and apocalyptic monsters
There is talk these days of Netflix’s economic slide, which seems unable to contain the bleeding of subscribers who have recently unsubscribed from the platform. Whether it is the increase in the price of its essential flat rate, the tough competition in the streaming war or the inevitable evolution of the multi-screen viewer, perhaps fed up with more quantity than quality, the truth is that audiovisual consumption is becoming more fragmented every day and it is difficult to satisfy a massive public enough so that it remains faithful to a single entertainment company on demand, as if it were a total seal of guarantee. Beyond the simple niche it is difficult to widen the audience, not to mention the madness that it means for the average user to scratch their pockets to sign up for the entire offer that does not stop, probably above the current demand. Both à la carte menus, even sifting through, turn out to be a good stick at the end of the month. The viewer continues to choose what he sees, or so they would have us believe, which means that video-on-demand companies have to get their act together and offer what shines and other companies don’t have. In this sense, it is time to break a spear in favor, curiously, of the initiative that invests the most in marketing, because thanks to its programming we can taste series and movies from other latitudes whose freshness is undeniable, especially material of Eastern origin that is not so present in other operators. The rise of anime and manga globally has to do directly with their support for this type of production. Exceptional phenomena, of the level of ‘The Squid Game’ or ‘The Paper House’, have not arisen through other channels, except for the final stretch of ‘Game of Thrones’.
Serve this introductory paragraph, an attack of columnism, to show the interest of a good part of Netflix’s offer, a popular platform that is always blamed for melting the viewer’s brain -a hunt that we intermittently sign up for-. In the field of animation they are aware of the pull and have opted for very personal series and feature films, such as the recent ‘Apollo 10½: A Space Childhood’, the latest from Richard Linklater, or the cult anthology ‘Love, Death & Robots’ . Its anime offer is powerful, opening new paths in the genre, crossing ideas that give rise to the launch that concerns us, the second season of ‘Pacific Rim: No Man’s Land’, an extension of the Guillermo del Toro film that made it fashionable in the West the confrontation between kaijus and giant robots, making a childhood dream come true. The Oscar-winning filmmaker of Mexican origin managed to bring together on the big screen an assortment of ingenious imitations of Godzilla fighting against Transformers possessed by the spirit of Mazinger Z. The result was ‘Pacific Rim’ (2013), a good artifact surrendered to entertainment that captivated lovers of spectacular fights between mastodons. Colossi exchanging blows in a future world.
An inevitable sequel came years later, this time without the head of ‘Pan’s Labyrinth’ behind the camera, although he was in the executive production. ‘Pacific Rim: Insurrection’ transncurred a decade after the first invasion of kaijus, read giant monsters. The Jaegers, metal titans piloted by two people at a time, face them. Steven S. DeKnight jumped into the long format after making numerous episodes for television series such as ‘Spartacus’ or ‘Daredevil’. The imagery was further expanded last year with the release via Netflix of the series ‘Pacific Rim: No Man’s Land’, a step further in history. Its continuation, seven episodes around 22 minutes, marks the definitive end of the plot arc.
kaiju apocalypse
‘Pacific Rim: No Man’s Land’, directed by Jae Hong Kim (‘Lost in Oz’) and Hiroyuki Hayashi, with scripts by Craig Kyle and Greg Johnson, describes the journey of two brothers, whose characters notably collide, on a devastated planet for destruction. The hulking monsters have been sent to pave the way for an alien invasion. The apocalypse is tremendous, there are hardly any living beings left on the desert land. The leading duo continues the journey in search of their parents aboard the titan Atlas Destroyer. The eventful journey leads them to get to know themselves and meet other survivors of the great tragedy, not all of them with good intentions or necessarily human (a murderous teenager, a kaiju boy…). In the new season the twists are multiplied, with striking cliffhangers at the end of each episode, which leave the viewer in suspense -in the old way, like when television broadcast a weekly episode and left the suspense in the air with a resounding cut in The climax-. The session is seen from the pull, irremediably hooked, with well-articulated action scenes, some unexpected deaths and some hypnotic villains: the Kaiju Sisters, disturbing, cruel and diabolical. Desecrating their territory is putting your skin on the line. Led by the High Priestess, their dangerous cult causes them to act as a deadly silent swarm. Some dream sequences seem like a juicy extra. The bleak setting, in a good way, as simple as it is effective, surrounds a collection of schematic characters who carry the plot well and evolve enough to generate suspense, without their emotional plane mattering too much.
A frame from the series.
‘Pacific Rim: No Man’s Land’ uses an extended technique that fuses 2D animation and infographic advances, giving rise to a style that we have already been able to see previously in proposals such as the ‘Ghost in the Shell: SAC_2045’ series. The story takes place after the events seen in the predecessor films. It breaks new ground, presenting a two-way confrontation, also between human beings, while the world burns. Polygon Pictures, a Japanese studio specialized in 3D animation, creator of the latest Godzilla animated films, ‘Knights of Sidonia’ or ‘Tron: Uprising’, sign the technical section of an adventure that expands the universe created by Del Toro, whose passion for the animation is evident in other titles that bear his stamp such as ‘Trollhunters’ or ‘Wizards: Tales of Arcadia’.
‘Pacific Rim: No Man’s Land’ is available on Netflix.
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