Seven Deadly Sins: The placement of popular anime’s theatrical premieres might be challenging. The majority of movies are simply fascinating slices of life that could hypothetically occur but aren’t actually significant to any larger narrative. Others are too canonical, such as The Seven Deadly Sins: Grudge of Edinburgh Part 1 on Netflix. They amuse as well, but primarily for viewers who have already developed a connection to the show.
Seven Deadly Sins
Grudge of Edinburgh, one of the Seven Deadly Sins Part 1 is a two-part movie that tells an original tale from the creator of the Deadly Sins manga, Nakaba Suzuki. This first episode, which was directed by Bob Shirohata, picks up 14 years after the anime’s events when the Kingdom of Liones finally entered a period of peace. But everything changes when a fresh danger materializes out of nowhere.
Giant and fairy clan members begin to vanish from their homes. While people in cloaks work on black magic in secrecy, armored suits that have been hollowed out march between communities. New monsters are created and sent out to plant the seeds of retaliation. An influential person is cursed, causing hasty actions. The all-out conflict appears inevitable.
To deal with what’s to come, it would be easy to invoke the Seven Deadly Sins. Prince Tristan (Mikako Komatsu/Ayumu Murase), the son of King Meliodas (Yûki Kaji) and Queen Elizabeth (Sora Amamiya), is the subject of the narrative instead.
Struggles In Seven Deadly Sins
A powerful fighter in the making, he struggles with his inability to control his lineage-based talents; his father’s demonic abilities are particularly concerning because they frequently appear in violent outbursts from Tristan toward both allies and enemies. His aspiration to become a powerful knight is dashed as the fear of unintentionally hurting someone takes precedence. This individual struggle coincides with the general assault on the Kingdom of Liones, creating an intriguing conundrum on the battlefield.
Grudge of Edinburgh might be seen as the start of a new storyline in the anime The Seven Deadly Sins. Its story feels a little too open-ended for a single feature, much like movies like Demon Slayer the Movie: Mugen Train. The fact that it was released in segments, with the first section clocking in at slightly over 50 minutes, supports that idea. With very little in the way of introductory exposition, it serves as a bridge between earlier events and what will happen next rather than displaying a comprehensive arc from beginning to end.
The significance of the clan hierarchy, the fluctuating power dynamics between characters, and the relevance of particular groups are all conveyed as though the viewer already is aware of what has been happening. Even the villain’s objectives, which are as obvious as they can be, are supported by hazy allusions to the past.
Fans will be happy to see some familiar faces, and they’ll be even happier to see that some of the heroes’ children are continuing in their parents’ heroic traditions. In contrast, newcomers will be completely lost in that regard and only be able to focus on the main conflict. Fortunately, Grudge of Edinburgh accomplishes just enough to be worth watching even if you haven’t finished the anime.
Tristan finds himself in a situation that is relatable even though the main conflict is based on historical events: an evil force is kidnapping people, and someone needs to stop them. It’s unclear why he is assigned that task rather than the Deadly Sins, especially given who his father is. However, neither that nor other minor story problems ever stop the action for long.
Speaking of action, there aren’t many fights in Grudge of Edinburgh. Nevertheless, what is presented is quite strong, in part because of the animation in the movie. It consists of hand-drawn details that add texture to computer-generated effects. Instead of alternating between 2D and CG, it layers the two.
This strategy is used with a vibrant color scheme to create aesthetics that are grounded and brilliant, similar to pastels. The characters’ actions are constantly flowing, and even though they strike quickly, they have weight in connection to their surroundings. It’s a fantastic touch that makes the fights much more appealing.
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