Episode 8 – Call of the Night Season 2

Wow, this episode is a hell of the emotional tour. From the romantic highs of high school to the trough of family horror, Call of night The strongest episode of the season so far ends the backstory of Nazuna and Kyoko. It makes you laugh. It drags your heart. It doesn’t back down when studying the darkest material in the series. It looks confident and polished to understand in a way that makes this mid-season climax.

As a comic reader, I forgot that a lot of things happened to such a quick inheritance before Nazuna ended its flashback. If we just take stock of the more dramatic scenes, that’s it: Kyoto cried in front of Nazuna, Nazuna and Kyoko, passionately Elope, Kyoto’s father seeks forgiveness, Kyoto’s entire family collapsed, and Kyoko stood out from the top with nazuna. All in all, this takes about ten minutes of running time, and in less capable hands, it will cause the trigger. In fact, it is a reasonable criticism to hope to breathe more space here. However, I also think writing and adaptability are professional, and the emotional roller coaster is suitable for its adolescent actors.

Kyoto/ANKO is the main character in this section, this should be kept in mind. Nazuna lets her open, and through their conversation we learn that her fear of abandonment drives Kyoto’s action. She may not use these exact words, but it is obvious to the audience. She hopes her father stops cheating on her mother because she doesn’t want to lose her family. When Nazuna promises that they will be together forever, she agrees to be a vampire. Eventually, she left her family and Nazuna, perhaps thinking that if she hadn’t had anything to do with her in the first place, she wouldn’t have been abandoned. In each case, the unification factor is Kyoko’s rashness. She is smart, but when her feelings overwhelm her, she goes with her intestines without thinking twice. The biggest problem is that her final decision makes her stand out from it with anyone who can speak her.

However, we sympathize with Kyoko. After that scene, who wouldn’t be afraid of vampires? It is also worth noting that this episode focuses a lot on vampires as a metaphor for gender. The camera often follows Kyoto’s eyes, wandering on the exposed parts of Nazuna’s body, her legs, her collarbone, her hands, etc. This hormonal charge gaze reaches the point where Nazuna proposes to turn kyoko, and the show treats the scene of blood as a shocking scene as a scene of treating sex. Later, Nazuna even joked that Kyoko was her “first”, and Kyoko followed the result of asking for a kiss. On the other hand, this adds a darker layer to Kyoko’s father revelry, enhancing what Kyoko has to feel in that moment.

But, like all symbols, we should not be just one thing, but one thing. Call of night Don’t ask us to completely confuse Nazuna and Kyoto’s romance with our father. Instead, it maps a more complex pattern of connections similar to many variants of relationships and gender in real life. A partner close enough to love you is also close enough to consume you. That is the inevitable risk of intimacy. We know that Nazuna won’t hurt Kyoko, I think Kyoko knows it too, but when she loses her family, she can’t focus on anything except that it’s impossible to completely rule out this. She couldn’t see clearly now, and she literally saw the statement when she put on her father’s glasses. Kyoto would rather deceive himself than risk such harm. Eventually, she even gave up her name and moved further away from her past and anyone who might be connected with her.

This is not Nazuna also has all the answers. I like the anime that emphasizes that Nazuna’s reaction to Kyoko’s asking for help is not some well-considered romantic gestures. This was what she blurted out after her friend’s crying face stimulated the panic. Of course, she meant, but she thought it was nothing more thoughtful than Kyoto. Both of them chose to simplify the situation. In that moment, they become two bodies, doing the right thing. Especially (literally) adaptability shines here with the soft glow of adolescence and the blurred focus. I wouldn’t be surprised if anyone on the team used it Leeds and the Bluebirds As a visual reference for this scene, given similar aesthetics, sapphic clamping and other similarities, such as abstract shots of rotating colors. That’s a great movie with a crib!

The rest of the episode looks great, too. There is an extra layer of trick that separates it from the rough attractions of the season, so it’s obvious that the crew has put it aside. Support the Assistant Director Nao Miyoshi and the main director Tomoyuki Itamura Reunion for the first time since its premiere. Itamura and the Common Story Board When Storyboard is closely related to the comic panel Nakahara Add your own poignant beauty. When Kyoto talks about her father, I like still life shots, emphasizing that in his absence she can only talk about him in an abstract way. Later, details such as birthday candles pouring out of the darkness and red syrup on the cake foreshadowed the conclusion of the night. When her father loses his mind, the spinning 3D flowers and discordant sound design emphasize the dissociation horror of the scene.

Most importantly, all the big emotions this week worked for me. I know these developments and twists and turns, and the anime still swept my drama. Although I have a lot of praise to abandon, Miyuki Sawashiro It is the MVP of the plot. She skillfully adapts to all the moods in Kyoto and has a thorough influence. Her range is ridiculous and her work in this series is already one of my favorite examples of sound performances. I’m really lucky. I can’t wait to see Sawashiro brings the next arc. Eventually reunited with Nazuna, Anko once again called her a “vampire” instead of using her name, so she hasn’t moved on in the slightest over the past decade. Time will tell if Nazuna can fix the bonds they once had.

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Call of night Season 2 is currently on the air
Hidive.