Through years, through struggles and delays and issues abound, Uzumaki episode 1 has now graced the screens of many. Does it survive the expectations of such a period of waiting? In a sense. Does it deliver on the adaptation of Junji Ito’s manga of the same name? That depends on the viewer. It’s a rather complex beast to break apart and really discuss, so rather than providing easy answers I think it best to tackle this first episode right away.
On the topic of right away, fans of the manga will quickly recognize the disparate nature of this debut episode to its source. Content is entirely removed, narrative developments are edited and restructured- its appearance is alien when placed against how the manga reads. In this case, it is one of several outstanding decisions made to help the series thrive. Though it’s not necessarily a knock against Ito’s original work, the tone and appeal of its pacing are… very Ito. It’s an odd comment to make when you’re adapting arguably Ito’s most famous manga, but sometimes those pieces simply can’t find a home in the vision for things like Uzumaki episode 1. Here, Hiroshi Nagama pushes for a more concise spiral into madness by shortening, or in most cases removing, the majority of transitional discussion that spreads the feeling of unease and descent. When given an entirely new format to operate within (and music from Colin Stetson), you’re offered different opportunities to explore the expression of those feelings. Purists might be left with their jaw on the floor, but I really do think that taking these changes in stride has produced an impactful experience with the opening of this short series. The consequences are made to be dire, the character’s spirals swift and aggressive, and the semblance of truth thin and brittle.
It can be a hard pill to swallow but a divergent adaptation- as Uzumaki episode 1 provides- is really the best avenue for it as an anime. While the narrative is the shining example, other supporting sections are equally as valuable. One, just one, spot can take pride in its similarity though- the art. While it’s not necessarily a 1:1 replication, there are many places where Uzumaki episode 1 endeavors to mirror Ito’s appeal. There’s an argument to be had about the individuality that’s lacking in the character designs as they (narrowly) miss on the attitude of Ito’s originals, but the overall appeal to the infamous mangaka’s style feels impressively spot on across the board. Several art styles also pervade the episode, and a handful of creative liberties provide some really wonderful effects that help further those comparisons to Ito’s manga.
In particular, I’m a massive fan of the unique lighting/compositing that can envelope the characters at times. It’s uniquely odd in the fact that it firmly separates them from their environments, but… there’s something about it that works really well. That feeling of a thin veil that isolates them as a layer in the frame feels like a very correct decision. When tracking down a reason for that feeling, the closest I could get is the rotoscoping and 3D work that almost perfectly sells the characters. That uncanny feeling, when drenched in exclusively black and white can be somewhat lost in the sea of monochromatism, blending in a bit too well. That bit of separation helps to force the characters into view as a primary subject while also distancing them from their immediate environments. While its sparing use can be used as a way to provide a closeness to the nature of Uzumaki, I can’t help but feel that it’s also wasted potential as it stands.
While disappointment may not be the right word to describe my final point above, complaints and issues are an inevitable experience with an adaptation of this nature all the same. I do really love the idea of rotoscoping and heavy use of CGI, and I do think that going black and white was about the only way to approach it. However, I also think that there are several missteps and struggles that almost seem inevitable with anime. Primarily, the distance between reality and terror feels too strong. It’s great seeing those moments well animated, but their disparate nature to the rotoscoping isolates them in a sense that I don’t feel adds to the overall experience in Uzumaki episode 1. It’s a struggle that would persist until the end of time, I’m sure, but the tenets of horror simply don’t translate easily to traditional animation.
Similarly, the loose technical limitations of animation that prefer shorter cuts is a problem. It’s hard to do much of anything there, but it’s a meaningful glimpse into the approach and appeal of horror as something that demands to be grounded in reality. Dune will remain a shining example of visuals that are tied to reality, and is a great example of the rules that Uzumaki episode 1 needed to follow. Believable camera work, an emphasis on character acting, slower movements, more zooms and other camera tricks. Unfortunately it predominantly remains more anime-like instead, and that takes away from the stellar decisions made elsewhere. One last thing of note with the visual work though- the subject that Azami Kurotani is based on absolutely dominated Uzumaki episode 1. Incredible character acting that is conveyed almost effortlessly despite the difference in detail and expression that comes with rotoscoping. Truly a show stopping contribution that paired with Mariya Ise’s vocal performance makes for the standout character of the episode by a mile.
Altogether, it’s impossible to really say whether Uzumaki episode 1 is a success or not. There’s some wonderful decisions against pieces that feel like they just can’t make the cut, but ultimately, the dedication to this adaptation remains apparent. All those years of effort are visible in many of the decisions here, and for that alone it makes it hard to say that Uzumaki episode 1 isn’t good. It can struggle to successfully convey the horror of Kurozu in a way that captures the odd nature of Ito’s work, but I’ll be damned if it’s not giving it a good shot. To really give a proper opinion on its success, we’ll just need to see what Nagama and Drive have cooked up for the subsequent episodes.
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