There are some shows that I immerse myself in and binge within 24 hours, totally content and happy, only to find myself going blank when I attempt to assess the show’s quality. Certain genres are hard to critique because the magic that makes them click for audiences are more difficult to put into words. The Promised Neverland is one of those shows.
Specifically, this is a show depicting a mental tug of war between two sides trapped together. The tide is constantly shifting in one side’s favor and it all builds to an elaborately constructed conclusion, the complexity of which I- an aspiring writer- could only dream of creating. It’s… a lot to unpack, but the short version is: It’s really good.
Look at any of Japan’s most prominent genres and you might notice how self-referential the country’s media is. The tropes and visual iconography seen in classic Mecha like 1988’s Gun Buster can be seen mimicked in everything from Gundam to other classics like Gurren Lagann. I think of this as a cultural signature of Japan that they love to pay homage to the art that inspires new works. It’s about embracing new while not forgetting the old.
This past fall, SSSS Gridman hit the scene, especially committed to capturing the magic of classic Tokusatsu beyond visual cues. In the same vein, a new series on Netflix appears to have the same intentions, though arguably more accessible than Gridman. With sci-fi directors Kenji Kamiyama (Stand Alone Complex) and Shinji Aramaki (Appleseed) helming the series, I was dead set from the first trailer. Here is my review of the Netflix Original Series, Ultraman.