The second season of the animated series, based on the creation of Guillermo del Toro, manages to involve more than its predecessor, with a great ending that concludes this animated story of giant robots and apocalyptic monsters
There is talk these days about Netflix’s economic slump, which doesn’t seem to be able to contain the bleeding of subscribers who recently unsubscribed from the platform. Whether it’s the rise in the price of the essential flat rate, the fierce competition in the streaming war or the inevitable evolution of the multiscreen viewer, which may be tired of more quantity than quality, the truth is that audiovisual consumption is becoming increasingly important. shredded every day and it’s hard to please a large audience enough to stay loyal to a single on-demand entertainment company, as if it were a total seal of guarantee. Outside of the simple niche, it’s hard to broaden the audience, not to mention the insanity it means for the average user to scratch their wallets to sign up for the whole offer that doesn’t stop, probably above the current question. Both a la carte menus, even digging, prove to be a good stick at the end of the month. The viewer continues to choose what to see, or at least that’s what they would have us believe, which means that video-on-demand companies should stand up and offer what shines and other companies don’t have. In this sense, it is time to break a spear in favor, curiously enough, of the initiative that invests the most in marketing, because the programming allows us to taste series and films from other regions whose freshness is undeniable, especially material of oriental origin that is not so present in other operators. The rise of anime and manga worldwide is directly related to 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 the last part of ‘Game of Thrones’.
Serve this introductory paragraph, an onslaught of columnism, to show the interest of much of what’s on offer from Netflix, a popular platform that’s always been blamed for melting the viewer’s brain—a hunt we find ourselves wondering about. to sign up-. In terms of animation, they are aware of its appeal and have opted for highly 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’. ‘. The anime offer is powerful, opens new paths in the genre, crosses ideas that give rise to the launch that worries us, the second season of “Pacific Rim: No Man’s Land”, an expansion of the Guillermo del Toro film that it fashionable made in the West the confrontation between kaijus and giant robots, making a childhood dream come true. The Oscar-winning filmmaker of Mexican descent managed to bring together an assortment of ingenious imitations of Godzilla fighting Transformers, possessed by the ghost of Mazinger Z, on the big screen. The result was ‘Pacific Rim’ (2013), a good artifact given over to entertainment that captivated lovers of spectacular battles between mastodons. Colossi that deal 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’ changed a decade after the first Kaijus invasion, read giant monsters. The Jaegers, metal titans controlled by two people at once, take on them. Steven S. DeKnight jumped into the long format after making countless episodes for television series like “Spartacus” or “Daredevil.” The footage was further expanded last year with the release via Netflix of the series ‘Pacific Rim: No Man’s Land’, a step further in history. The sequel, seven episodes of approximately 22 minutes, marks the final end of the plot arc.
“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, chronicles the journey of two brothers, whose characters notably collide, on a devastated planet for destruction. The colossal monsters have been sent to clear the way for an alien invasion. The apocalypse is huge, there are hardly any living creatures left on the desert land. The lead duo continue 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 well-intentioned or necessarily human (a murderous teenager, a Kaiju boy…). In the new season, the twists and turns are multiplied, with notable cliffhangers at the end of each episode, which leave the viewer in suspense — the old way, like when the television aired a weekly chapter and let the suspense air with a resounding break. in The climax. The session is seen from the attraction, addicted beyond repair, with well-articulated action sequences, some unexpected deaths and some hypnotic villains: the Kaiju Sisters, disturbing, cruel and devilish. Desecrating their territory puts your skin at risk. Led by the High Priestess, their dangerous cult causes them to act like a deadly silent swarm. Some dream scenes 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.
‘Pacific Rim: No Man’s Land’ uses an elaborate technique that combines 2D animation and infographic progress, creating a style that we have already seen in proposals such as the series ‘Ghost in the Shell: SAC_2045 ‘. The story is set after the events of the previous films. It is groundbreaking and presents a two-way confrontation, also between people, while the world is on fire. Polygon Pictures, a Japanese studio specializing in 3D animation, creator of the latest Godzilla animated films, ‘Knights of Sidonia’ or ‘Tron: Uprising’, draws the technical part of a universe-expanding adventure created by Del Toro, whose passion for animation is evident in other titles that bear his mark, such as ‘Trollhunters’ or ‘Wizards: Tales of Arcadia’.
‘Pacific Rim: No Man’s Land’ is available on Netflix.
Source: La Verdad
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