Uzumaki’s Finale Showcases the Anime’s Wasted Potential

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Key Takeaways

  • Animation started strong but fell apart after episode 2 and quality plummeted.
  • Colin Stetson’s music was the only consistently good aspect of the series.
  • Without director Hiroshi Nagahama, Uzumaki’s pacing and quality suffered, becoming chaotic.

As a long-time fan who grew up reading Junji Ito’s manga, I must say that my excitement for “Uzumaki: Spiral into Horror” was as deep as a spiral vortex itself. The first episode promised great things with its stunning animation and eerie soundtrack, but the subsequent episodes were a rollercoaster ride between terror and disappointment.

heads up: what follows might reveal the secrets from episode 4 of Uzumaki: Spiral into Terror, currently available on Adult Swim and MAX.

After five years of challenges, excitement, and four weeks, the anime adaptation of Junji Ito’s “Uzumaki: Spiral into Horror” has concluded. In the first episode, viewers were highly impressed by the animation, music, and direction. However, with the release of the second episode, it became apparent that something had gone awry behind the scenes, causing a major disruption in the production process. The anime underwent a change in studio and director; Hiroshi Nagahama, one of the names that sparked enthusiasm for the project, left the production without revealing the reasons.

The production team had two options: either terminate the series after the first episode or collaborate with another studio for the release of the remaining three episodes, with a noticeable drop in quality. Fans are torn about whether ending it at episode 1 would have been preferable to the finished product. However, it’s clear that, beyond episode 1, the adaptation curse of Junji Ito persists.

Animation, Lackluster At Best

Great Start, Awful Ending

Previously stated, viewers found episode 1’s animation captivating. Studio Drive employed rotoscoping for human characters, which along with stunning artwork, created an unsettling vibe. The animation seemed distinct and engaging, amplifying the ominous tone of the narrative. Each character appeared as if they’d been plucked from Ito’s manga pages. The terrified expressions were animated flawlessly, and the talented voice actors brought Kirie, Shuichi, and their counterparts to life just as expected.

After the airing of episode 2, the initial enthusiasm and anticipation among fans significantly diminished. The poor quality animation displayed in this episode was disappointing, even compared to some lower-quality animations that have emerged recently in the anime industry. Fans often refer to this as “PNG animation,” suggesting it could have been superior to what was presented in this installment. Episode 3 showed some signs of improvement, but it was evident that it was still produced by the same studio responsible for episode 2, and the exceptional quality and excitement from episode 1 would not be repeated.

For the remainder of its run, the animation in this series displayed modest enhancements at times, yet it consistently fell short of the level fans have come to expect from contemporary anime. This disparity is even more noticeable when contrasted with other shows airing during the same season. Titles such as “Bleach: Thousand-Year Blood War,” “Re: Zero,” and “Dragon Ball: Daima” boast exceptional animation that reflects their respective intellectual properties. However, “Uzumaki: Spiral Into Horror,” which underwent five years of production turmoil and generated significant excitement due to its promotional content and the team involved, failed to meet these expectations.

In another instance, this was a project undertaken by Adult Swim within their foray into anime production. Following the disastrous reception of Ninja Kamuy and the Rick & Morty animated series, there are concerns about the success of their early ventures in this field. Although it’s difficult to solely attribute blame to Adult Swim, given the numerous variables influencing the quality of an anime production, it’s undeniable that their reputation in the anime world has been tarnished.

Music and Sound, A Spiral in your Ear

The Saving Grace

Colin Stetson ought to be celebrated not just for his compositions in his musical career and film scoring, but also for his exceptional contribution to this show. His music serves as a redeeming factor in an otherwise underwhelming production. He possesses a remarkable ability to create eerie atmospheres that linger with the audience throughout the narrative, much like a creeping spiral echoing in your ear. Unlike the music of other anime series that can be heard outside their context, his compositions are integral to the storytelling, serving as the medium through which the narrative’s weight is carried.

As a gamer, I can say that the sound design plays a significant role in keeping me on edge throughout the game. However, it’s not always perfect. At its best, it enhances the eerie visuals to create an immersive experience. But at its worst, it veers into the absurd, bordering on humor. The combination of visuals and sound in various scenes assaults my senses relentlessly. Generally, the sound design is impressive, but when it falls short, it’s hard to ignore.

As a gamer, I can’t help but notice the inconsistency in sound design. Some crucial moments seem to have been meticulously crafted with unique sounds, while others feel like they’ve been lifted straight from an amateur production’s sound library. This stark contrast, at its best, is jarring, and at its worst, it’s downright funny. It’s a shame because the inconsistency in animation quality seems to have Stetson as the only consistent high point.

Directing, A Bizarre Decision

Nagahama is Sorely Missed

Hiroshi Nagahama, a well-known figure, sparked anticipation among viewers with his involvement in the production. His past creations had been highly appreciated by both fans and critics, with Mushi-Shi being particularly cherished. This talent was evidently displayed in episode 1, as he skillfully captured the weight of Junji Ito’s original work. The entire episode kept viewers on tenterhooks; the escalating terror of the Spiral Curse unsettled fans due to Nagahama’s masterful directing.

Following his absence, the transformation became strikingly obvious. The narrative flow seemed awkward and contrived. To hasten the pace of each episode, events occurred at a rapid speed, which made them seem comical rather than horrifying as intended. Events happened simultaneously all over, with characters hardly acknowledging them as they came to an end. Keep in mind, the original manga was structured episodically, dedicating chapters to one story at a time. The anime condensing four or more episodes into one felt excessively chaotic and disconnected.

This will be yet another example of how extremely difficult it is to adapt Junji Ito’s work. His stories are surreal and outlandish, and they work solely because of his great talent for storytelling and nightmarish imagery. But adapting these into anime without a competent writer, director, and animation studio has proven to be virtually impossible. Episode 1 may be the closest we’ve ever been to getting a proper adaptation of Ito, while the other three simply continue the curse.

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2024-10-23 22:04